Unique and at times profound, it's a reminder of how much Kubrick left for us to appreciate in his work, and how the greatest films always leave something more to be discovered with each viewing.

All of Wong's undeniable visual flair can't conceal the haphazard nature of the story.

Richard Linklater's Before Midnight isn't the most digestible picture, but its challenging, funny, painful, very present and alive depiction of relationships at 40 is so honest and real that we wouldn't have it any other way.

The film is undeniably moving at times, and there are moments of metatextual elegance that feel as though they tremble on the brink of genuine insight.

Unfortunately, Would You Rather is content with being a risible borderline torture porn horror film.

There is a fine line between meeting an audience halfway and witholding enough without falling into self-indulgence, but Kiarostami can't make that balance here. Enigmatic and dull to a maddening degree, Like Someone In Love finds Kiarostami spinning his wheels.

Perhaps hardcore Jet Li fans will be able to get some joy out of it, but we'd suspect that even they will struggle with this one.

While a film of great craft, strongly performed by the cast across the board, and particulary by the lead, newcomer Saskia Rosendahl, Lore never lets the audience in close enough for it to be a truly embraceable picture.

With long stretches (we're talking 20-30 minutes) without a single guffaw, Identity Thief is aggressively dull, and will joylessly steal two hours of your life that you will never get back.

A film of surface pleasures, even joys, but those joys seem to be longing for a central idea around which to coalesce.

You may not be able to figure it out, but that's part of the point of this sensually-directed, sensory-laden experiential (and experimental) piece of art that washes over you like a sonorous bath of beguiling visuals, ambient sounds and corporeal textures.

The risible Stoker is a brutally empty, deeply unfortunate movie, and Park Chan-wook's jackhammer of a tool he calls a brush is, on this evidence, something that should be locked away.

The picture's conspiratorial late-night tone and fleshy after hours luridness was practically built for watching at night, when our parents think we've gone off to bed (think '80s films directed by folks like Adrian Lyne).

Each scene is a brisk vignette of deadpan reversal, often involving a running theme of miscommunication.

This film feels like one you discover late at night and watch for ten minutes before remembering you've already seen it, and yet we still kinda loved it.

A vibrant and vital tribute to a piece of recording and rock history that could have been lost to the ether, and Grohl packages the story of this little studio with a detailed celebration of the craft and skill necessary to this kind of recording, all with a killer soundtrack (which should go without saying).

It's like stocking a team with proven performers and hoping that everything else will work itself out at the end, including a rickety script, indifferent direction, and a plot that pretends its final act is anything other than a cliché-hugging inevitability.

Playing with genre is fine, but if you're going to create new rules, you have to play by them too, but unfortunately Warm Bodies continually subverts its own internal logic and basic, believable character motivation to keep pushing the movie along.

This newest film is an undercooked potboiler, one so tastelessly bland and visually indistinguishable that you wonder if anyone associated with the project realized what makes cheapo crime fiction so fun to consume.

Not only is not even a single character more than one-dimensional, but every line falls flatter than a witch dispatched with a Gatling gun.

There is a lived-in quality to Supporting Characters that comes from either a strong cast or days of rehearsal – unclear as to whether they had the latter, though they definitely have the former.

A gloriously decadent, gorgeously photographed melodrama – a movie where people burst into tears and act very badly towards each other, all while wearing really fabulous clothes.

An oddity recommended for only the most fervent, undemanding comedy junkies.

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.