It's the picture's lack of focus that eventually diminishes whatever little The Bling Ring has to say.

Black Rock isn't going to become the sort of classic that "Deliverance" was, but if you like your scares smart, and like them to happen to people you actually care about, then Aselton's island of friendship and fury is a nice place to visit.

While there's a lot of fun to be had, Furious 6 doesn't quite hit the insane heights of "Fast Five," but we're sure it'll delight franchise fans who mostly want to see bald people butt heads, and moving vehicles crash into other moving vehicles.

I Give It a Year groans on, with unmemorable scene after unmemorable scene, each one more contingent on coincidence and happenstance than by the actual, gear-filled mechanics of drama or comedy.

Almost coming off like an academic blueprint of what a serial killer movie should look like, rather than anything with a distinct voice or authorial hand, "No One Lives" shocks by virtue of being completely uninteresting.

Thankfully, as the movie goes along, he tempers his bloodlust, instead engaging in sequences that up the suspense and terror while not exclusively luxuriating in the bloodshed.

Though given two committed turns by a tremendously sexy and vicious Arterton and a solid-as-always Ronan, Byzantium often feels as gray and lifeless as the corpses in the film.

Strickland' command of tone, aided by Oscar-winning "Slumdog Millionaire" editor Chris Dickens and, of course, sonic wizards Joakim Sundstrom and Steve Haywood, is masterful, jarring and discombobulating the viewer as Gilderoy's mind unravels.

The project seems compromised by a meager budget and limited scale.

Venus and Serena wins points for sharing an intimate, not-always-flattering view of the sisters that isn’t PR-friendly.

What’s obnoxious is that it’s never in doubt where Assault On Wall Street is headed, and it seems to believe there’s a certain poetry to taking its time turning Baxford into a non-verbal Travis Bickle.

The cast alone deserves to be recognized more than the notes of “Speak It, Don’t Leak It.” And yet, here I am, humming it.

With the sound off, Baz Luhrmann’s The Great Gatsby surely looks as radiant and extraordinary as some of the most dazzling movies ever committed to celluloid, but with the sound up and the experience on full volume, the movie is mostly a cacophony of style, excess and noise that makes you want to turn it all down a notch...or three...

Star Trek Into Darkness is a long, long way from a disaster, but it's hard not to feel that Abrams' mystery box turned out to be a bit empty this time out.

There’s a ton of truth and ugliness to You Will Be My Son, and the minor digressions into soapy territory keep threatening to derail. It never does thanks to Arstrup, a force of nature who grabs his scenes by the throat and never lets go.

The cumulative effect is dramatically effective to the point of being soul-crushing.

Dead Man’s Burden (the directorial debut of Jared Moshé) demonstrates just why film is important, simply by being beautiful. But beyond that, it’s also a moody, violent, classic, yet modern Western.

It’s never a painful watch, more of a faintly dull, seen-it-all-before one. If nothing else, it’s evidence that these days, being based on a true story isn’t enough to elevate a film in a well-worn genre ahead of the pack.

Challenging, complex and frequently ugly, Paradise: Love is a ruthless exploration of how unlike our everyday selves we can behave when we’re "on holiday," and how much that illuminates who we really are.

As a documentary and a love story, Cutie and the Boxer is nothing short of breathtaking.

The East is definitely a movie that's going to divide people but it'll be a conversation worth having.

Mezmerizing in fits and starts, Graceland doesn't coalesce into the "important" thriller it seeks to be.

Pain & Gain fails at being an entertaining and ridiculously fun Michael Bay movie and curdles into something much more tone deaf and obnoxious.

It’s an interesting hybrid of the relationship movie, mumbly indie and dark murder film, and the combination works here, for the most part.

While the film is hysterical, its real strength lies in the way it is able to deal with an issue like sexism in the industry and work it out in a funny, honest and very real way.

For all the film's flaws, Black brings enough to the table that it's far from a chore, and if this level of ingenuity and surprise can be maintained, there'll be no need for Tony to hang up his Iron Man helmet any time soon.

Credit Swanberg who served as both director and editor for making a film that feels loose without ever being ponderous or phony.

Kiefer Sutherland feels somewhat miscast as the mentor, but nowhere near as badly as Hudson is as the love interest. In all fairness, it’s a nightmare of a part, an artist (whose art is, as it turns out, is terrible) haunted by the recent death of her boyfriend, and seemingly unable to read basic human feelings and emotion. But Hudson doesn’t really help things, coming across more often than not as unintentionally funny.