Pam Grady

Thompson's brutality and misogyny are on full display, but it is too slick, there is little suspense or energy, and the whole affair has a curiously embalmed quality.

Like Carrie without the telekinesis, this horror movie replaces the supernatural with blunt brutality and dark humor to terrific effect.

What this predictable tale lacks in surprises it more than makes up for in charm, good music and the indelible performances of Alessandro Nivola and Abigail Breslin as father and child.

Shannon makes the man's dilemma plain and moving, and that gives Take Shelter a resonance that last long after the final fade out.

An investigation into Pieter Bruegel the Elder's painting "The Way to Calvary," Majewski's film is a stunning piece of art in its own right.

Control's Sam Riley steps into a role made unforgettable by a young Richard Attenborough in the 1947 original and makes it his own, slipping into the character like a second skin.

The dismal reality is that this romantic drama is a disaster, a dour "When Harry Meets Sally" that tries to jerk tears out of the story of a man and a woman who go from friends to lovers.

This is Rudd's movie and he once more displays an unerring eye for comedy. He comes at it from an actor's perspective rather than a comedian's and it shows as his character as hilarious as he is credible.

The melodrama is tiresome, overwrought and clichéd.

Good Neighbors' greatest strength is that even when the plot becomes too obvious and the thriller aspects fall apart, it can always wrestle a laugh out of you.