The acting is as inspired as the screenplay allows, which just isn't enough to add any kind of conviction to the events that transpire on screen.

It's a new vampire classic, one to treasure endlessly.

Devos keeps her character’s unreliability and self-disappointment relatable, and falling backwards into a new lover is something that Devos captures beautifully with her uncertain facial expressions and hungry eyes.

Carefully balancing stereotypes with tasteful comedy, De Felitta has his three leads and a generally refreshing screenplay to thank for making Rob The Mob a joy to watch.

If you thought Vol. I was a brilliant piece of provocation, then Vol. II might disappoint you with its detour into (relative) conventionality, its attacks on arthouse artificiality, and its apparently very different politics. But if you found Vol. I to be as silly as some did, then Vol. II suggests something interesting: Lars von Trier might agree.

The Winter Soldier is probably in the upper tier of Marvel pictures in terms of quality, but ultimately proves too muddled and frantic to match the heights of "The Avengers."

Felt at times like a long-winded dirty joke – meandering, incoherently provocative, self-indulgent without being fun enough to make up for it.

A clever assemblage of archival and historical material that unfortunately doesn't quite go far enough.

It only ever connects in the small moments that fall through the cracks of the supposed formal and thematic experimentation—when the fine actors are allowed to walk and talk like real human beings, rather than a collection of tropes.

Unlike most movies that use the current economic crisis as a dramatic backdrop, Healy's character is vibrant enough that the audience can make an easy connection and go through the journey with him.

Boynton's film is refreshingly complex.

When Lotz is not onscreen, Stephens is miserable company. But James does reveal a deep fascination with the robotics that suggests the threadbare story was a chance for him to explore the very real advances in artificial intelligence.

The supporting cast all do excellent work too, but this is Eric’s story, and so it’s O’Connell’s film. His performance is a revelation.

As a portrait of a legitimately fascinating unlikely superstar, the film really works.

There’s no denying the lovingly recreated production and costume design, all curved corners and wide lapels, and the era’s sexual politics and self-help movement are slyly incorporated as well... However, the droll humor on hand is more hit-or-miss.

For a movie that insists that sequels are never better than their predecessors, Muppets Most Wanted at least suggests it’s possible for them to be equal – well, almost.

Because there’s some genuinely great ideas in the film, and some terrific character work, but it’s given such uneven attention, alternately languished upon and glossed over, that the portrait Burger creates feels complete without, well, making us feel a whole lot else.

It Felt Like Love, marks the arrival of a new crop of talent to watch, behind the camera and in front.

Working off what appears to be a pretty decent script by Mark Poirier, who does a good job of juggling quite a few story threads and giving each enough attention and depth, Johnson's rigorous and formal approach doesn't allow for any sparks, let alone fireworks.

What really sells both the fashionable remove and generational paralysis is the pairing of Elliott and McNulty, as they effortlessly establish a passive-aggressive relationship from the get-go that thrives in a constant state of reliably unreliable codependence.

The Art of the Steal won’t trick audiences into thinking they’ve seen anything new, but it’s just clever enough to keep them distracted from realizing that they haven’t.

While the doc should prove essential for Nick Cave fans, it should be inspiring for those interested in the creative process or anyone searching for their muse.

Need For Speed possesses eye-rolling, tone deaf dialogue, passable performances (unless you’re Dominic Cooper or Kid Cudi) and plotting so conventional, there’s not even one surprise U-turn anywhere.

The Face Of Love has splashes of brilliance without and within its overtly saccharine story.

It's easily the scariest movie since "The Conjuring," and in some ways is a deeper and more satisfying film. It's stylish but not showy, more concerned with the thematic undercurrents coursing just beneath the surface.

While the more down-to-earth Chef does offer some fascinating autobiographical dimensions, the film is also an overlong, unfunny, largely insufferable bore.

Neighbors is one of the funniest, most visually inventive studio comedies in recent memory.

As pithy and sharp-witted as the screenplay is ... the direction by series creator Rob Thomas ... is oftentimes flat and visually dull. ... And so the movie, is more than anything, a bold and breathless work of fan service, configured by the creators of the original series for the maximum enjoyment of the fans of the original series.