Makes its point ham-fistedly and then devolves into a blood-spattered slasher movie. It also unashamedly cribs from more disturbing films like "Straw Dogs," "Funny Games" and "A Clockwork Orange."

Vince Vaughn and Owen Wilson may be the worst interns since Monica Lewinsky.

It's mostly smoke and mirrors. After Freeman's snooze became a YouTube fixture, the actor jokingly dismissed the nap, saying he was using "Google eyelids" to check his Facebook account. You may find yourself attempting the same feat, because Now has little up its sleeve.

The coming-of-age film is poignant and comical, sitting squarely on that threshold, focusing on the time when a teen is part boy, part man and all adolescent.

Provocative, issue-oriented thrillers are in sadly short supply these days. But The East fills the bill with its examination of the intense commitment and anarchic impulses of eco-terrorist organizations. It's a fascinating subject on which to anchor a spy thriller.

Though it's meant to be pulse-pounding, After Earth is a lethargic slog.

The film's clever use of emerald-colored hummingbirds as transportation is a highlight.

Who would have thought that one of the most provocative and affecting films made about the fallout from 21st century divorce would have emanated from a 19th century novel?

Bittersweet, intelligently written, deftly acted and painfully honest.

Fast & Furious 6 might have just as easily been called "Planes, Tanks and Automobiles."

Nothing about this rote exercise feels remotely fresh. It's a re-tread of the 2009 original, sans the inspired lunacy.

Nathan Lane steals the show in this tale of a high school English teacher who becomes obsessed with a student's play.

Sarah Polley's memoir is a poignant, funny and engrossing film, challenging our notions of memory and family mythology.

Spectacular special effects, superbly crafted action sequences, plenty of humor and terrific performances render it a cut above most summer blockbusters.

It's an unrelentingly brutal movie set in an unusually scenic locale — the coastal city of Valparaiso, Chile.

The film is beautifully shot, with vivid production design. But because of the tale's lack of cohesion, it doesn't carry enough emotional heft.

Grier plays the part of the pompous patrician with superb finesse and dry wit, easily the movie's highlight.

So much effort seems to have gone into the eye-popping production design, swooping camera work and anachronistic musical score that the result is hyper-active cacophony rather than enthralling entertainment.

Brosnan and Dyrholm are irresistible, communicating volumes with mere glances as well as sharp dialogue.

Shannon's restrained and mesmerizing portrayal, bolstered by an excellent offbeat supporting cast, makes for an edgy and compelling Mob yarn.

The rambunctious Iron Man 3 is a briskly paced thrill ride until about 90 minutes in, when the excitement wanes. A few late-breaking surprises re-invigorate the tale, however.

Forced, formulaic and never believable. It's a particularly unholy combination.

Arthur Newman is an old story and chronically, consistently uninvolving.

Endearing and believable, the two actors playing Ellis and Neckbone are pitch-perfect.

A badly constructed, blood-spattered caper that comes unglued early on.

With its complex look at storytelling, imagination and the teacher-student dynamic, In the House is an elaborate cinematic fresco.

Brannigan is terrific as Robbie, and the entire supporting cast is superb.

Oblivion is a slick spectacle — seeing the humorless but ultra-fit Tom Cruise wrestle with himself might be worth the price of admission alone.