It is a credit to Snowman's Land that it's plot twists are, for the most part, not entirely predictable, nor do they ever come across as far-fetched.

It's a testament to the movie's lack of creativity that Anderson can't even rip off "Aliens" and have it come across as anything less than totally boring.

Touching and brimming with the energy, enthusiasm and tides of teenage love and life, 'Perks' could very well be the next classic of the genre.

The trio (Hoffman/Keener/Walken) give top shelf performances as we've always come to expect from them in A Late Quartet. But it's just too bad that they're in service of Yaron Zilberman's film, which takes the unique focus of a string quartet in Manhattan, and puts it in the middle of a standard and unsatisfying soap opera, that spins off into one subplot too many.

Whatever Branded is selling, we aren't buying.

Somewhat spastic and overcooked, Seven Psychopaths might have a few too many.

Extraordinarily suspenseful, extremely well-told and effortless in its complex tonal balance.

Too long by at least a half hour, and both dull and repetitive as it goes on, Cloud Atlas reaches for envelope-pushing storytelling but never delivers on its promise.

Perhaps the most thrilling thing about Looper is watching Johnson really grow leaps and bounds as a filmmaker.

In other words, here's the same slop you've seen before, only with brand new accents. Also, more pooping.

With so many elements already in place there may still be a great comedy in there somewhere. With a little more finesse, Bachelorette could be the raucous female-led comedy it strives to be.

It deserves to be shown to teenagers, not necessarily as a warning, but at least as an eye-opener: This is how it works, kids. And it ain't pretty.

Both fascinatingly theatrical and thrillingly cinematic, a picture that's lingered on our minds more than we expected.

Uncompromising and uncommercial, divisive and brave, Killing Them Softly bitterly boils at the state of the nation.

Warm and funny, real and raw, Hello I Must Be Going deserves a hearty welcome from moviegoers looking for an honest and frank comedy that never forgets to help us care about its characters.

By sex line standards, For a Good Time, Call... clearly succeeds –- it starts off slow, includes plenty of dirty talk, then gives us the happy ending we came for –- but our needs are a little bit greater when it comes to good films.

Temple and Panabaker are quite good in their lead roles, to the point where you start to hate the fact that the movie's thesis thrives on the girls being damned if they do, and damned if they don't.

Silly, distracting, and undeniably entertaining.

Comes to you courtesy of WWE Films, though it's a considerable departure from their recent family-friendly approach. But it does make sense that the audience for post-apocalyptic films will start out with the Speak & Spell version of this premise, a knuckle-dragging time waster you could predict with your eyes closed. But hey. It's a movie.

Here everything feels limp – simultaneously over and undercooked. It doesn't leave much of an impression and every scare seems to be either some lame jump scare or a fright inflicted by the shrill score.

Mia Wasikowska and Jessica Chastain both shine as the love interests for Jack and Forrest respectively, allowing those characters to have something beyond their business to be fighting for, with the skill of both performers allowing them to be more than just window dressing.

The road to hell is paved with good intentions, and in a few months it will also be paved with unwatched DVD copies of The Tall Man.

A plodding, undercooked, and old-fashioned (not in a good way, either) chiller that will bore you to tears instead of scare you to death.

Just as the film is about to deliver it's package, it sends the viewer an I.O.U. instead, botching two-thirds of what may be Koepp's most entertaining film as a director.

Fans of Birbiglia should be easily entertained, and with a little luck, it will only earn this particular loveable neurotic a few more of those.

The Words fails to surpass dramatically the bland lack of specificity in its title while still offering a solid roundup of performances from its talented ensemble cast.

Simply put, Samsara tells the story of our world, but onscreen, it is so much more than that.

What dooms Hit and Run, which, charitably, is not as generic as it's name implies, is that the film itself comments on its own sincerity.