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.

It’s not like “The Artist” was gritty, but Populaire is so cotton-candy breezy it makes the Best Picture-winner look like “The Panic in Needle Park.”

Up until the very very end (which uncorks a CLASSIC cop cliché that seemed long dead by now), The Sweeney is straight dumb procedural, no chaser.

Powerful, engaging and, by the finale, moving. And in the end, At Any Price is certainly one of the most impressive reactions to the recent economic crisis (because that’s exactly what it is) that cinema has produced so far.

A brilliant, towering picture, The Place Beyond The Pines is a cinematic accomplishment of extraordinary grace and insight.

It's enjoyable and toe-tapping for what it is, but it's also extremely lightweight stuff.

A beautiful, hearfelt and raw piece of work.

Some good laughs and a passable air of bonhomie do nothing to cover up the fact that The Angels’ Share is totally lightweight and distractingly underdone.

While far from perfect, Welcome To Pine Hill works more often than it doesn’t and is an intimate and existential character study of a man out of place with his past, himself, and his surroundings, and the push and pull of former and future worlds beckoning him.

With the help of a talented cast, The Brass Teapot is able to coast on charm for the first hour, but then the fairytale idea that powers the film runs out of juice, and the last forty-five minutes hurtle toward a wrap-up that feels both awkward and overwrought, needlessly portentous and arriving much too late.

For a movie that tries to create and sustain a sensation of wild unpredictability, it's a huge failure. It's not shocking if we've all seen it a thousand times before. With 21 and Over, it's all been there, drank that.

A valiant attempt to build on the magic of “The Wizard Of Oz,” and while it certainly doesn’t diminish the standing of that movie, Sam Raimi’s film provides proof that the more we know about the mysteries of our favorite stories, the less interesting they become.

The experience of Leviathan is wholly singular, without context, enveloping and immersive. In some ways, it might very well be the most terrifying picture of the year.

It’s the kind of garbage that does a disservice to the fearless possibilities of the horror genre and its knack for sly social commentary.