For those of you who felt "Ides Of March" was entirely too cerebral and challenging, here comes the dunderheaded Knife Fight. A political satire that treads no new ground, this name-heavy comedy wastes an engaging central performance by Rob Lowe.

There are filmmakers who are able to weave social commentary through the arena of big budget entertainment, without having it come across as lopsided or boring; Allen Hughes, it turns out, is not one of these filmmakers.

By the time the ridiculous child psychologist character encounters a government employee with a convenient bounty of useful information, Mama just becomes laughable, then annoying.

The Last Stand delivers -- up to a point. Keep those expectations reasonable and try not to be disappointed.

The film similarly boxes itself in when it feels the need to mimic the third-act occurrences of "Paranormal Activity" when it's obvious that improv had the film going in an entirely less predictable direction, clearly pointing out the fallacy of A Haunted House: you can't parody something and also try to emulate it as well.

In lieu of any sharp insight into the period and its notorious figures, the film's brash, ultraviolent encounters instead build a showy exterior with nothing of import left standing.

Quartet is a hard film to dislike entirely, thanks principally to the charms of its cast.

Charming, witty, beautifully shot and inexplicably captivating.

Overall, there is a fundamental lack of excitement or energy; it's a 95-minute movie that feels twice as long as "The Hobbit."

The Impossible strikes an insincere tone, one that doesn't let the obviously powerful moments stand on their own, but instead follows the beautiful Hollywood stars to safety, while the real story is left on the ground.

Though not a poor effort per se -- David Chase's Not Fade Away does authentically captures the heart and soul of the music of the era and the intoxicating/naive dream of making it big -- the picture isn't exactly a remarkable one either.

Amour is nevertheless the work of a filmmaker who isn't afraid to ask the big questions about human nature, and coming out of Amour it seems the director has hope for us yet.

If there's one thing that wounds On the Road, it's that the film is full of things -- having sex, doing drugs, being free -- that are far more enjoyably experienced by one's self as opposed to watching other people enjoy them on screen.

Though maybe a bit too stiff and straight-laced, Barbara is a frequently subtle, moderately interesting character study set in a grievous East Germany during the 1980s.

Anyone who finds this conclusion a humanistic or socially reprehensible dealbreaker can hardly be faulted. Before these questionable issues come to a head and then falter in the finale, there is a lot of value in The Girl.

In terms of pure pop entertainment value, you'll be hard-pressed to find a more smartly constructed, beautifully shot, pulse-pounding movie this holiday season.

Apatow indulges in his freeform tendencies to a particularly destructive degree with This is 40, resulting in a movie in which the ambitions are only equaled by the shortcomings.

Like another Tribeca hit given a quiet release, last year's "Puncture," Any Day Now feels the need to take its compelling true story and stack the deck in favor of what we know is the outcome, presenting all obstacles as engineered by sneering, callous villains with disdain for those who would trumpet a more progressive cause.

It's not particularly funny or moving and it's terribly self-indulgent. Flamboyance and cartoonishness rule, there's hardly a moment of genuine emotion, and most overtures in that direction are superficial. As a picture ostensibly about love, revenge and the ugliness of slavery, Django Unchained has almost zero subtext and is a largely soulless bloodbath, in which the history of pain and retribution is coupled carelessly with a cool soundtrack and some verbose dialogue. Though it might just entertain the sh.t out of the less discerning.

The movie is basically The Portrait Of The Artist As A Young Mad Man, but don't be shocked if you find yourself asking just what art he was practicing in the first place.

As prophetic as it is provocative, exploring dysfunction, in a recognizable but no less satisfying way.

While 'Les Mis' ends terrifically, it cannot make up for the largely uneven experience that comes before it. There is no doubt an abundance of passion and commitment in Les Miserables but when the musical isn't connecting emotionally -- which is at least half the time -- it's a lot of blustering sound and fury that could either use a dialogue break or an edit.

The film may help "Downton Abbey" fanatics looking to kill a little time in that era but holds little cinematic appeal for the rest of us.

Watching Deadfall really is like being trapped in a blizzard – the cinematography is so muddy you can barely make out what's going on on screen (besides the bright splashes of blood) – you're antsy to be anywhere else but where you are.

It's Middle America vs. big bad corporate America, and while the (not so) "bad guy" predictably finds salvation in salt-of-the-earth people, Promised Land often leaves a sour taste in your mouth.

Largely harmless and tame, but also shallow and uninvolving.

By the end of the film it seems that even Frears has given up. Lay The Favorite places a bet but comes up empty with a comedy that won't make you smirk, with a gaggle of characters and actors who bounce and riff with very little rhyme or reason.

What Addicted To Fame lacks in nuance, it makes up for in insight and honesty.