The Campaign is insidiously stupid, a laugh-free water balloon lazily tossed at the institution of politics, and one that makes "Semi-Pro" look like a lost Robert Altman film.

Viscerally, The Bourne Legacy packs a punch. If you're looking for a traditional sequel though, you'll probably be disappointed, but if it's a whole new ride you're after, you've come to the right place. Bourne has indeed been reborn.

ParaNorman is a micro-sized masterpiece that wears its heart (and its half-eaten brains) on its sleeve.

A pastiche of almost too many movies to count as a remake of just one, Total Recall is mindless, middling fare that fails to utilize – much less expand – the provocative concepts at the core of its iconic 1990 predecessor.

Anyone watching Assassin's Bullet will be gripped with a similar sensation -- to be anywhere but watching this movie.

Forever doesn't deviate terribly from the can-we-be-friends-after-sex playbook, but it rarely opts for hysterics or contrivance to push our leads along, so long as you can swallow the amicability with which they initially divorce.

If the film had not been afraid to go a little darker (like its sexually frank opening), dig a little deeper, and develop its characters beyond their stereotypes, it would have been a much stronger effort.

As a look behind the curtain at one of the contemporary art world's biggest names, 'Painting' succeeds as far providing a snapshot of who he is in the very immediate moment. For anyone looking for anything more about Richter, his craft or his insights, 'Painting' will prove to be a half-finished canvas.

Overall, it's not that Neil's directorial debut is boring or even disappointing, it's that it's just unexceptional – almost exactly the sort of dime-a-dozen growing-up story that's become a Sundance/ independent film world cliché.

Ultimately, Lee's clarity of vision hasn't been this sharp or unique since before "Crooklyn," and it's thrilling with Red Hook Summer to witness a return to the technique – and most of all, emotional wallop – that even today continues to give his films an enduring life as both entertainment, and enlightenment.

Overall, Chandrasekhar's first tentative venture towards something slightly more sincere is undermined by, quite frankly, his irresistible urge to take the piss out of every sequence that might have been played even remotely seriously.

Compliance is as much a meta-textual gauntlet as it is a movie; its subject matter not only deserves, but demands to be discussed and argued about, rather than being simply accepted at face value.

'Never Sorry' feels borderline unfinished, as it never draws that line between Ai Weiwei and the generation of successors to his throne that he has inspired. Perhaps it doesn't have to. Perhaps you're already one of them.

Certainly possesses a lot of energy, but it's never harnessed or focused effectively. As a buddy comedy, all four leads have done better, and you already know what those movies are, and this one doesn't stand among them.

Of course, it's because of the film's casually profane tone and commitment to pushing the boundaries of taste and acceptability that makes Klown a step above "The Hangover," a lack of fear towards the lawlessness with which those films only flirt.

Manages to be both overwrought and strangely lacking in drama, staggering under the deadening weight of an uninvolving central character. It is a shame, because many of the elements were in place for something much more compelling.

Alps has proven Lanthimos to be one of the most fascinating filmmakers anywhere right now.

Handsomely animated and features a story that, while hopelessly familiar, at least seems to be part of a whole. Also, there are pirates. So there's that.

The truth is, while Red Lights isn't terrifically scary, it is thrilling in other ways, constantly playful and often tongue-in-cheek as it works through the hokey conventions of the genre.

The Imposter is a great commentary on the subjectivity of any event, and one that probes deeply into the motivations of its subjects.

Dredd is a video game procedural tied to great visuals, but one without deeper substance to make its experience remotely meaningful.

Swims forward with tenacious shark-like energy and therefore is sleek, efficient and utterly engaging.

It won't change the face of cinema history, and it won't win any awards (it's too downright dirty for that), but it's furiously entertaining, and a very strong piece of drama from a director who hasn't much luck in the last thirty-odd years.

The meat of the film is sadly, a tedious misstep for a director who, even when he's experimented in the past, has generally come up with something more interesting than this. It is, however, still better than "9 Songs"

A cinematic, cultural and personal triumph, The Dark Knight Rises is emotionally inspiring, aesthetically significant and critically important for America itself – as a mirror of both sober reflection and resilient hope.

First Position is a simple, but effective portrait of ambition and determination in an art form where the stakes are high and the rewards are few.

Ruby Sparks hits that sweet emotional spot much in the same way "Eternal Sunshine of the Spotless Mind" does. While you are at once charmed by the whimsy and romance, there's still a gut punch of emotional rawness just waiting to be delivered.

2073 might sacrifice some eloquence to make its creative points, but the sincerity shines poignantly and powerfully. Let it be a galvanizing call to action.