While it hardly reinvents the genre, it’s smart, sharp entertainment that meets expectations dead on, and provides a nifty little story told with just enough spark to make the familiar feel fresh.

The movie is so apolitical; there could have been a nice slant to the movie, about how both sides of the aisle could get together to kick out these Korean terrorists. Instead, it remains totally void.

As every sub plot, reveal and character… err, caricature that is, gets stacked on top of each other, the more inevitable it is that the whole thing will come tumbling down. And while Love is All You Need is by no means a disaster, it simply can’t support all that weight.

It’s as if Weitz knows he’s got a corpse of a film on his hands -- never trust a movie when it feels as though you can see the director clasping the defibrillator.

Pablo Trapero’s White Elephant is a smartly acted, beautifully scored, often bracingly directed film of good intentions and big ambition. Yet it can only be called a modest success, and, in light of how strong some of its individual elements are, even a slight disappointment.

The film isn’t a white knuckle ride, and the pacing can be slow at times, but this is one of those cases where that’s sort of the point, and you certainly don’t begrudge it. A Hijacking is an absorbing, highly moving film.

Presenting a terrifying view of a hidden holocaust and a moral apocalypse in which the most basic humanities have become twisted beyond recognition, The Act of Killing is a towering achievement in filmmaking, documentary or otherwise.

Though it's impressive in many technical and surface ways, The Croods lets us down on the essentials of character and story, and no amount of late-stage father/daughter bonding or vertiginous 3D cliffside tumbling can make up for that.

Gimme The Loot involves drug-dealing, constant foul language and vandalism, but Hickson and Washington, both attractive and charismatic enough to be stars, carry the film with an air of lightweight pleasure, keeping it light and bouncy.

The results are a disturbing mixture of paranormal ghost story and psychological unease.

While it's great to look at, Reality is an empty shell. A feature length examination on the artifice of reality programming, Garrone's film itself is superficial and lacking the same depth of artistry and ideas he finds absent on TV.

There’s so much to like about the film, and it’s a mark of Assayas’ skill that it's a hugely engaging watch despite the blankness of the characters.

It'll get your blood pumping, before it starts spilling down your forehead.

Sturgess and Dunst are two actors who have the potential to excel; “Heartless” and “Melancholia” both hold notable performances from them that serve the story and its themes well. Here though, Solanas does the pair no favors.

If Kiss of the Damned has one thing, it's an identifiable groove, one that is sustained and very, very infectious.

Even with so many talented actors involved, there’s nothing really galvanizing or particularly provocative about Redford’s latest.

For most of the run-time, Welcome To The Punch is thrillingly cinematic, beautifully made, smarter and funnier than you'd expect, and a phenomenal showcase for Creevy and his team.

While the premise of the film is outlandish, the feelings are all real...Director Vogt-Roberts and screenwriter Chris Galletta are in perfect unison on this film, harmonizing to create what feels like a fresh comic voice.

Featuring truly shocking levels of violence but none of the wit or fun of the original, the new Evil Dead is mostly a dud.

It's a comedy so out of touch that jokes disappear before they're even delivered, as if by magic.

As emblematic of the film’s general indifference as anything is Driver’s central, perfectly fine performance.

Its off-the-cuff nature makes for a film that is not flawless – the music is a bit daft, and some of the acting a little too “large” for the intimate setting – but is, from beginning to end, delightful.

Fans of Polley’s work to date will be delighted by a documentary that serves simultaneously as a gripping mystery, a moving record of a family and a fascinating investigation into the nature of truth, memory, and the documentary form itself.

Oplev composes shots with grace and an understanding of where everything is geographically and how scenes relate to each other in the multi-threaded plot. Like everything else in Dead Man Down, his direction is beautiful and brutal at the same time. Whoever thought that this movie would be as entertaining as it is existential is either lying or psychic.

Lowery is the real deal and understands filmmaking, and this is abundantly clear in this searing, romantic crime drama and love story.

The end result provides a range of quality, from the inspired and creative to the lazy and insipid, but one that horror fans will certainly devour.

The movie is never without forward momentum, it's just too bad when just when it's ready to go to interesting places, we jump back to Bonner and Aya's pedestrian romance.

Muddled, muffled and mixing empty comedy with empty dramatics, The We and the I is an abject failure.