A lurid, florid, humid, flaccid and insipid waste of time and money for the audience and for everyone who made it.

V/H/S delivers the thrills and chills craftily and with a better batting average than usual.

It's easy to take most films' war-torn elsewheres for granted, and taken on its own merits, Red Dawn is a victory of small battles and heavy artillery, sentimental but rarely too hackneyed, energetic without becoming too silly.

Deeply resonant and soulful, Life Of Pi, is a harrowing journey of survival, self-discovery and connection that both inspires and awes in equal measure.

The script finishes up exactly where you think it will, but along the way, there are enough surprises and perfectly delivered lines to make it a blast.

Moving, rousing, funny and at times even haunting.

It's not everyone cup of bloody tea, but an unapologetic genre treat for those willing to dive in.

Hotel Transylvania is very different from its contemporaries. You just wish that, with so much emphasis on chaos, they could have spent a little more time on character.

17 Girls is mostly fueled by grrl-power, from it's nineties-era femme-centric alt-rock, to it's marginalization of boys as sperm-deposit devices, unfair but a natural corrective to years of women onscreen as purely sexual objects.

It's a deeply humane and moving look at a complex issue that at the very least demands that a conversation begins not about short term fixes, but long term solutions.

It says something, then, that Burton's best, most enjoyable, and most emotionally resonate film in years is actually an adaptation of one of his very first projects: Frankenweenie.

We assure you, it's not worth taking a trip to down to the House at the End of the Street. Something horrible might have happened there, but it can't be worse than this movie.

One of the best documentaries, and best films, of the year, it is required viewing for anyone with a desire for making their own world a better place, inspiring you to act up and fight back.

Hachmesiters's Three Stars is a treat, largely because it eschews the standard arc of documentaries.

I'm Carolyn Parker isn't so much a movie title, as a "Spartacus"-like shout that, if we all embraced, would make us a better people and country.

An enormously entertaining, crowd-pleasing winner from the director whose comedic edge has never been sharper.

Lacking narrative momentum, saddled with thin characterizations and uninspired plotting, Trouble With The Curve should've stayed on the bench.

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.