Please steer away your loved ones from this tone-deaf travesty, this misbegotten farrago, this offensive, rank, charmless, near-lifeless, anti-romantic twaddle, a classic tale 'told by an idiot.' Want to know what I really think?

Whedon goes for a kind of radical naturalism, an understated approach that suggests the characters could be your friends and neighbors.

Moves us closer to an art-house/blockbuster hybrid paradigm that could be Hollywood’s salvation...a survivalist adventure that captures the primal terror of present death while exploring the will or won't to live.

The odds of hitting a 'runner runner' flush (in Texas Hold 'Em) are 'roughly four percent.' Coincidentally, those are the same odds you'll be satisfied with your purchase of a ticket to Runner Runner.

Typically slick, both overstated and undernourished when it comes to the drama. All the same, Rush makes for a pretty good fall night at the movies: fast and furious, but not too stupid.

A comedy of separation anxiety and conjoining anxiety...When Holofcener gets Dreyfus and Gandolfini alone, Enough Said is a beautiful thing.

Intrigues not with good guy-bad guy shtick, but with the conundrum of how to live morally in an inherently immoral West.

Exquisitely captures the vulnerability not only of youth, but of the male identity.

In a film full of humane performances, Larson stands out, personifying the necessary vulnerability and strength Cretton captures of the workplace.

Feels rather 'been there, done that' for a movie that keeps (idly, as it turns out) threatening to turn transgressive. Still, by putting utility player Hahn front and center, Soloway earns instant good will.

While more detailed scientific analysis and greater discussion of impacts would have been welcome, the film's visual rhetoric is solid.

The stars still deliver, the supporting cast (especially Collins and Mark A. Sheppard as demon Crowley) remains prized, and the writers keep coming up with witty variations on the show's Route 66-meets-The X Files premise.

Sutter knows how to conceive inconceivable violence, and while it's fair to question whether or not such disgusting ideas are just cultural poison, one can't argue that he ignores the consequences of each act.

As violent, macho fantasies go, this one is surprisingly engaging, a throwback to '80s sci-fi actioners like Predator in its striking visual approach...its juicy pulp dialogue...and its unabashed hard-'R' gusto.

With a man-against-the-elements adventure like this one, the emphasis is, and should be, largely on spectacular depiction of the environment, and [the] directors...make use of the biggest budget yet afforded to a Norwegian film...

To Be or Not to Be has all the hallmarks of a Lubitsch comedy: a solidly constructed plot, good comic pacing, a light touch, and strong performances from top to bottom.

The main selling point here—and it's a considerable one—is Shannon, who shows new shadings in the role of Kuklinski...

More than anything, perhaps, The Grandmaster is a feminist tragedy that, at least in this cut, seems to lose interest in Ip Man and pass the torch to the considerably more fascinating Gong Er...

Getaway does inspire escapism, as its title implies, but not in the way the filmmakers had in mind: rather, you’ll be looking for the exits.

Haneke has hit upon the most accessible, most universally understood experiential vehicle to explore his career-defining obsession with nihilism, or he has made his most emotionally sensitive film yet, a true love story. 

Season Two of Enterprise put a lot of fans to sleep in 2002, but out of that context of 'franchise fatigue,' these twenty-six episodes...are entertaining, well-executed Trek.

Despite breathless proclamations about 'the biggest, most high profile murder case in British history' and timely trappings of closely held government secrets threatening to come to light, it all turns out to be rather boilerplate.

You can go home again. But it's going to involve a lot of drinking.

As a tart analogy for our escapism into literature and romantic comedies, Austenland is, itself, enaging, if not particularly sharp.

Disney's latest grand experiment in televised synergy has old-fashioned, corny charm—just newfangled with girl power and CGI.

Comes full up with heavy-handed signifiers, from Ben's choice of reading (Hemingway...) to a hammered motif of lapsed Christianity (the climax takes place in a rotting church) that underlines the theme of living with the sins of the past.

There are sometimes twisted lessons to be learned from their misbehavior, but it's more about the silliness, punctuated regularly by frat-boy gesticulation and verbal high-fives.

Sunny days, blue skies, and rippling blue waters lined with greenery...Plain nice, and there's nothing wrong with that.

A mature film about immature people, tenderly performed by its young leads and skillfully adapted, by (500) Days of Summer screenwriters Scott Neustadter and Michael H. Weber, from Tim Tharp's YA novel.

Give this to Kick-Ass 2: it's never boring...Even so, Kick-Ass has lost most of its transgressive charge along with its element of surprise and its heroes' disturbingly unwavering conviction.

Faced with almost three decades of complicated history, Jobs does a fair job of telling the story of Apple and conveying something of what made its co-founder unique.

Despite admirable work from Whitaker and Winfrey, Lee Daniels' The Butler is nearly crushed by its own symbolic weight and its contrivance of a central character arc from keeping one's head down to learning to stand up.

In many ways, Spearhead from Space is terribly clunky...[but it] remains an historically important adventure and one with recognizable influences on stories to come...

For all its apocalyptic fate-of-the-world theatrics, this...[adaptation of] the 2011 graphic novel Flashpoint by Geoff Johns and Andy Kubert...has an emotional core to give purpose to its crazy amounts of mayhem.

A highly personal tale of undergrown men and overgrown boys experiencing the growing pains of love turned unrequited, and the realization that nothing—not freedom, not security, not innocence, not love—lasts forever.

It's hard not to see Cavalcade today as a corny contraption...

Pure, uncut del Toro. The filmmaker accomplishes riveting scenes of suspense and scares he honestly come by, sticking the landing of every effect he attempts.

While showing great fidelity to his source, Brook succeeded in delivering a version of Lord of the Flies that could best be described as psychological horror...

With a concept and influences consciously in mind; fine performances by Creed-Miles, Poulter, and Williams; and approving cameos...Fletcher is able to put his best foot forward in this creditable debut.

Hill has remained a steadily stylish presence in the idiom of action cinema. His genres of concern tend to be the Western and the urban crime drama, and the twain meet in neo-noir The Driver.

On paper, In the Family is an 'issue movie'...But in practice, it's a made-to-scale love story and a thoughtful family drama. In other words, it's a true rarity of contemporary cinema.

There's a tough-mindedness there that's admirable, even if it's preaching to a mall-multiplex choir. But one wishes Blomkamp were less concerned with his Halo-style run-and-gunning and more interested in the subtler repercussions...

Mean-spirited to squishy does not a convincing trajectory make...That wouldn't be so much of an issue if We're the Millers weren't such a dismally unfunny endurance test, but there you are.

Yes, Percy faces his Charybdis, but...Percy Jackson: Sea of Monsters not surprisingly feels more dutiful than creatively energized.

Under the leadership of head writer Michael Piller...the series broke the mold with the outstanding character piece 'Family.' That episode title would also serve as a pithy summation of the fourth season's primary theme.

Perhaps the most commonly applied adjective when it comes to the Klingon homeworld episodes of Star Trek...is 'Shakespearean'...[given] a certain unity of voice, as well as compelling throne-room drama and civil-war intrigue.

In the show's grand tradition of family entertainment, with scary creatures, exciting chases, chaste romance (with a buxom companion), and more than a few choice laughs on the off chance anyone might start taking the show too seriously.

While we've seen plenty of R-rated action buddy comedies before, the stream of amusing banter here comes with plotting that has a few good tricks in reserve.

Blanchett's edgy comic brio, in Jasmine's blithely imperious manner, magically complements her tragic mental fragility and self-defeating desperation.

Handsome but flatfooted, The Wolverine comes tantalizingly close to working, which makes it all the more disappointing that Mangold comes up short.