What is perhaps most surprising is that the film’s first hour, the non-horror section, is far more compelling than the second, an extended, nonsensical haunted hotel sequence that never scares, intrigues, or surprises.

Director Randall Miller (“Bottle Shock”) could do worse than render the early-'70s punk scene as breezy broad comedy. He adopts that tactic and still falters though, deflating any energy or humor possible with his limp direction, sitcom consistency, and unfocused tone.

Like its predecessor, Machete Kills is never less than busy with ridiculousness.

Would Sample This have been more effective as a 30-minute short? Without question. But it is hard to walk away too disappointed when the stories are this fascinating—and when the music is this triumphant.

The film makes distant what surely should be vital and alive.

The documentary is often fascinating, even as it eschews any kind of traditional narrative.

Part escapist action-adventure, part would-be exhilarating quest of self-discovery, The Secret Life Of Walter Mitty isn’t so much a mess because it wants to be everything at once, but because it employs hackneyed and mawkish methods to achieve a false sense of joyfulness.

This is a frequently titillating film, and Weigert can’t help but add dimensions to that onscreen intimacy and vivid exploration of intimacy, not just seduction but also the shared sensuality of a post-coital chat.

The message, like the filmmaking, seems fuzzy and unfocused.

Bad Milo! is ultimately a fairly pedestrian film, but in those moments where Milo takes action, if you squint, there’s just a little bit of that old-fashioned movie magic.

Runner Runner is content to stay high gloss, with no filler.

Some occasionally awkward performance moments aside, though, the film is very compassionate towards its characters and finds just about enough original insight within the well-worn family drama genre to keep things from feeling too familiar—it’s a just a shame there couldn’t have been a little more vitality injected early on.

This is the sort of movie that should be playing in the background on an episode of “Tim And Eric,” and yet instead it’s being released by IFC Films. Bring alcohol.

Comedy can succeed based on either its relatability or sheer absurdity, and A.C.O.D. favors the former approach, while not entirely forgoing the latter.

There’s always been something romantic and powerful about relationships primarily built on letter-writing, and that’s true for Shepard and Dark too.

That a documentary about economics could be so personally emotional and affecting is remarkable. And to learn from Reich in this film, as his students at Berkeley do, is a treat and a privilege.

The pleasure and the pain are all up there on the screen; we just wish it was less painful to watch.

It's a state-of-the-nation masterwork, a vitally important piece of work, and should be seen by as many people as possible.

Therese is almost voyeuristically distant from what's happening on screen, asking the audience to observe, but leaving just enough a gap of being completely engaged, that while everything is very well articulated, the impact is more academic than sensual.

The most visually arresting drama of 2013, and certainly one of the year’s best films.

It’s a breathlessly told movie; both meticulous and frenetic, sweat-soaked and methodical. It will take hold and won’t let you go, and it’s one of the most engaging movies of the year.

Unflinchingly honest and grim, Sunlight Jr. is a valuable piece of work from a filmmaker who has a distinctive voice and concerns.

The workmanlike precision of On the Job carries through to its action scenes, none of which are shot with any flash or style, but are edited with a propulsive pace and performed by a watchable cast enough to make them engaging.

There’s some interesting ideas floating around about identity, manhood, and what it means to connect with someone in an over-connected world, but A Case Of You (named for a Joni Mitchell song that’s not actually in the film) never actively explores them. Instead, it delves into generic rom-com and ropey cliché to little comic effect.

It's one of the most unexpectedly enjoyable cinematic experiences of the year, even if you couldn't pick a Metallica track out of some hypothetical never-ending playlist.

A decently-shot, but otherwise largely unremarkable horror movie.

Michell’s handling of the relationship between the two is touching in how little judgment he passes.

Exceptionally gorgeous and exceptionally silly.