The Internship might be the best worst comedy of the year thus far.

The Source Family is a comprehensive and fair-minded look at the life and times of an inspired, mystified and possible deranged man.

The Purge manages to be smart, scary, and subversive.

As a filmic examination of an extraordinary mind, it doesn't breathe much life into the frame.

Even though he only manages length and intensity when he’s aiming for emotional depth and dramatic sweep, Darcy-Smith does accomplish one rare feat with Wish You Were Here -- he somehow manages to tell a story that’s simultaneously mysterious and mostly uninteresting.

Your mileage with the movie will depend on how much you like these guys to begin with, because even if you're a fan, the one joke premise has a hard time sustaining a full length movie.

The Wall seems to be telling the story about assimilation, about a woman who accepts her lot and attempts to persevere through the cruelest of conditions, an unspoken martyr. Perhaps it would carry much more power had she not been so chatty.

Ultimately, American Mary simply reveals itself as a film with little on its mind, content to scare rubberneckers into contemplating the backstory of the more outlandish body manipulation jobs they’ve seen in public. A documentary would have sufficed.

Leterrier's film is a reminder that sometimes a good yarn can do enough heavy lifting on its own to provide thrills. Whether or not the illusion pays off will be up to you, but the trick itself may be intriguing enough.

The film progresses to the point where it feels less like father and son, and more like a young boy listening to an inspirational audiobook.

“La Camioneta” is at once an insightful documentary and a poignant allegory.

Grigris is the unusual movie that takes a lead's obvious talents, and curiously backgrounds them, hoping for their charisma to carry over to more traditional cinematic purposes.

It’s handsome, stately and deathly dull.

Blue is the Warmest Color is a masterpiece of human warmth, empathy and generosity, because in a mere three hours, it gives you a whole new life to have lived.

Ozon wants to have it both ways with Young & Beautiful, using a young woman's risk-filled sexual awakening as an illustration of coming-of-age, while also demanding a realism from a situation that he keeps far from being rationalized and justified.

With the themes of this play not exactly subtle or delicate, particularly at the climax, it all becomes a bit grating -- inescapable in its heavy-handedness.

The people of Jia’s film are mysterious, their reactions and motivations, outside of that first segment in which we get the best-drawn and therefore most anomalous character, are all but unknowable.

This is a tremendously well written piece of work, with impressively developed characters, with scene after scene that further enriches and deepens our comprehension of their actions, yet never judges any of them. It certainly helps that Farhadi gets quartet of excellent, pitch perfect performances.

It’s an offbeat, fun, and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music cuts and photography, and by the cherishable performances of the leads.

The Immigrant is contained, restrained, thoughtful filmmaking that satisfies on nearly every level, except for the desire for a little chaos.

La Grande Bellezza washes over you in series of scenes, visages, sensations and impressions, and although in this case it doesn't quite gel into a cohesive whole, it's nonetheless a journey worth taking; a travelogue through memory and dreams, in which life is greatest fiction we could ever create.

The problem is that the movie becomes more focused on diagnosis than character, and so what eventually unfolds is a meandering picture that only too late in the game leans toward highlighting any kind of thematic undercurrent while introducing romantic interests for the leads that do little but pad out an already too long running time.

For every moment of comedy that lands or drama that touches a nerve, there are ten of “why the bloody hell should I bloody care?” or “cry me a river, you had to sell your Brueghel.”

With pitch-perfect performances across the board, and boasting crisp photography and editing, the film never ceases to twist, turn and surprise, taking wicked joy in constantly switching us back on ourselves and our expectations of the characters.

A couple of shootouts and chases are impressive, giving the film a little bit of momentum it sorely lacks, but it’s heartbreaking that ultimately the film doesn’t work.

The Bastards feels like what happens when an undeniably great filmmaker stoops to sensationalism -- it’s a smarter, odder film than someone else would make with the same material, but it’s still smart, odd sensationalism.

As I Lay Dying is another Franco lark that is more of an experiment with form than a fully realized movie. One almost gets the sense that Franco is working out ideas with As I Lay Dying, with the goal of creating a cohesive film as a secondary ambition to simply capturing the feel of Faulkner's prose.

All Is Lost is a taut, superbly crafted addition to the survival story genre.