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The Outback, as well as "The Proposition," is just as punishing and unforgiving as the men who roam it -- and it's savagely entertaining. The film takes all the familiar ingredients of the Western with an Aussie spin. Unlike your typical Western movies, it's much darker, downbeat, and brutally violent. Set in rural Australia in the late nineteenth century, Charlie Burns (Guy Pearce) is a criminal living in the outback. He and his two brothers, Arthur (Danny Huston) and Mikey (Richard Wilson), are outlaws wanted for **** and murder. Arthur is a violent and dangerous cold-blooded sociopath, much more so than his siblings, and is wanted by the law. The authorities capture Charlie and Mikey after a bloody shootout, and the brothers are handed over to Captain Stanley (Ray Winstone), a British lawman sent to Australia to help bring order to the colonies. The Captain's proposition to Charlie is to gain a pardon for both of the brothers, by tracking down the elusive Arthur and killing him. Charlie scours the backwaters of Australia, but isn't certain if he can carry out his mission. A movie you cannot turn away from; heartless and uncompromising, filled with disregard to innocence and civility. One of the strengths of "The Proposition" is its relentless moral ambiguity. Characters that would be heroic in more conventional Western movies show their darker sides here. It's a tough and uncompromising story, but it's superbly written, features terrific acting on all fronts, and its beautiful cinematography captures this desolate landscape where only the strongest survive.

After Refn made an unsuccessful English-language debut with 2003's "Fear X," he returned to Denmark to shoot parts two and three of "The Pusher Trilogy." But the new films aren't a continuation, and the layoff didn't dull Refn's ability to tell an engaging crime story. In "Pusher 2: With Blood On My Hands," the film explores a drug-dealer’s former sidekick as he deals with new challenges in the world of crime, drugs, and becoming a father. Frank's ex-sidekick from the first film, Tonny, wonderfully played by Mads Mikkelsen is fresh out of prison. Tonny is eager to prove his worth as earner and son to his crime boss father (Leif Sylvester Petersen), known as the Duke. Routinely called a loser by everyone he knows -- he practically invites abuse by sporting a tattooed "respect" on the back of his bald head. Tonny also tries to ingratiate himself with his recalcitrant father (Leif Sylvester Petersen), who can hardly trust him with anything. The back-breaking straw is the appearance of a baby that Tonny's old non-girlfriend (Anne Sorensen) claims is his. The bitterness and betrayal mounts as Tonny begins to wonder if he should rewrite his life, and the fate of the neglected infant. At its core, the film about is about broken families and serves as a stark reminder of the lasting effects on our actions can have on future generations. Tonny's entire life has been spent on only one thing: trying to gain the approval of his father. And not only that he learns on his release that he is very likely the father of a baby boy, one so neglected by his junkie mother that he hasn't even been given a name yet. Refn is painting a bleak picture of a child without a chance. He is in complete control behind the camera, but this film belongs purely and simply to Mikkelsen. He is absolutely stunning, flawlessly embodying the insecurities and desire that drives Tonny. Against all odds, Tonny becomes a sympathetic hero in an increasingly tragic tale. It's not hard to spot the need that drives his self-destructive behaviour: it's practically written all over his face - or at least the back of his head.

A stunning, visionary example of dystopian science-fiction cinema at its best, South Korean director Bong Joon-ho's "Snowpiercer" is based on the French graphic novel - a blockbuster rich in style that successfully breaks through cultural and political boundaries.“Snowpiercer” is brought to the big screen and offers a solid narrative, carefully drawn characters and — above all — respect for the audience’s intelligence in high-concept genre cinema. While “Snowpiercer” and its world may be implausible, it's most certainly engaging, and further helping matters is Bong’s impressive, sprawling international cast anchored by Chris Evan's strong central performance. "Snowpiercer" is set in a distant future where a man-made ecological disaster has triggered a new ice age that has engulfed the planet and killed off all but a few hundred lucky survivors. Upending the social structure of society and transposing it horizontally, the upper-class has become first-class on the Rattling Ark - a gigantic speed train that contains a literal microcosm of a contemporary neoliberal society. The fortunate in the front of the train rule over the rest, where the rich dictate the rules in order to oppress the poor and underprivileged. Bong’s vivid depictions -- aided by Ondrej Nekvasil’s production design and Hong Kyung-pyo’s cinematography are beautifully orchestrated and captivating for the most part. That being said, one of the more significant issues with the film is the overuse of CGI in places, which does look sub-par at times, like stylized segments from a 1990's video game. Joon-ho creates an air of mystery and intrigue - as the passengers progress from the dark, rear tail of the train to the opulent splendour of the front carriages, "Piecer" evolves steadily, slowing providing information and further enriching its story with enough magic and wonder to suspend our disbelief entirely. The film's pacing is measured, but never slacks with adequate time taken out for nuanced, character-building scenes. You may recognize lots of inherent holes and flaws in its journey to salvation, but the movie confidently pushes its premise throughout its 126 minute run time. By the end, the film reveals itself as a surprisingly thoughtful contemplation projecting the problems of today into a science-fiction tomorrow, while it ties together a compelling story that continuously shifts. We all think we know what will happen here; the downtrodden are pushed to the limit, and as a result, they unite and rebel against their oppressors - exactly as we've seen countless times in a number of other sci-fi movies and it's all a bit predictable. "Snowpiecer" is the exception.

Directing duo Aharon Keshales and Navot Papushado's second feature "Big Bad Wolves" is their follow-up to the darkly comic "Rabies" (2011). Once again they attempt to create a genre-savvy thriller that blurs the lines between horror and political satire. Papushado's and Keshales bloody tale does a fine job mounting the tension, however the movie never fully clicks as a gritty revenge thriller or as a dark comedy. In regards to Quentin Tarantino's full-throttled endorsement of "Big Bad Wolves" as the year's best film is an absolutely ridiculous claim that sells his own work short. There's a serial killer loose, and he's ****, torturing and decapitating girls, whose heads he then hides, mainly, it seems, to give this otherwise generic setup some needed flair. As the police futilely chase clues, a motley triangle emerges: a suspended cop, Micki (Lior ****); a religious teacher, Dror (Rotem Keinan); and a mourning father, Gidi (Tzahi Grad). In time, the three converge in an isolated cabin that turns into a chamber of horrors as they play a psychological game to extract the location of the missing head from our killer. "Big Bad Wolves" begs to be read as a metaphor, and the directors are taking dead aim here: Israel's own ugly history of torture and its ramifications. But their point soon wears itself out, and what remains is merely cheap shocks and an increasingly tiresome sense of black humor that neutralizes its attempt to increasing **** film fails to deliver by suffering from irregular tonal shifts, a paper-thin story line, and a lethargic second act that stumbles into an incredibly underwhelming conclusion. "Wolves" is a well made film beautifully shot in widescreen and technically impressive. It has its moments of wit with humor, and on occasion, it does get its desired effect. However there is just not nearly enough of it. "Big Bad Wolves" huffs and it puffs, but it doesn't blow the house down.

It's not always fair to judge a film by its director's previous endeavours, but it's almost impossible to watch "The Past" and not think of director Asghar Farhadi's previous masterpiece "A Separation," a study of two families attempting to navigate Iran's repressive domestic laws and the erosion of their relationships. As the title indicates, "The Past" remains idle in a shared history with its characters who bear the weight of guilt and resentment that fuels this slow burn domestic drama. Ultimately, "The Past" explores the emotional damage that can incur when lines of communication inevitably break down. Marie (Bérénice Bejo) and Ahmad (Ali Mosaffa) are estranged spouses. Ahmad returns from Iran to France, where Marie lives, to finalize their divorce. When he arrives, he learns that Marie is living with Samir (Tahar Rahim), and Samir's young son, as well as with her own two children from a relationship previous to Ahmad. As Ahmad tries to make the best of his sometimes uncomfortable visit, he finds himself in the middle of several tumultuous situations. As the days pass, more about the lives of these people are revealed, and with considerable consequences. Farhadi's most complex and involving narrative to date provides a natural progression with no real plot twists while providing some unexpected turns. Teetering on the edge of contrived melodrama, the film builds towards a lackluster and formulaic finale that's nowhere nearly as compelling as Farhadi's uncanny ability to powerfully convey human insight and emotional turmoil. That being said, Farhardi's unsentimental and unforgiving approach ensures that this tale of domestic tension is in capable hands.

Director Mike Flanagan and co-writer Jeff Howard expand on their original 30-minute short film about a lethal piece of furniture "Oculus: Chapter 3" to a feature-length film. While it's a cut above the usual paranormal thriller, its 105 minute runtime doesn't dramatically improve on its mysterious element and it falls short on dread and tension. While "Oculus" slowly develops an unsettling story that cleverly undermines an age-old horror-film cliché, it's never quite as scary or as memorable as one might have hoped. After shooting his father and spending years in psychiatric care, Tim Russell (Brenton Thwaites), reunites with his sister Kaylie (Karen Gillan), who claims that an antique mirror in their father's study was what destroyed their family, as well as the families of many owners before them. Tim reluctantly agrees to help Kaylie document the mirror's effects, but all goes awry when it begins to play with their perceptions-intermingling past and present, memory and reality, and forcing them to witness again their parents' violent relationship, with devastating results. What's unique about "Oculus" is its structure, which cuts back and forth between Tim and Kaylie in 2012 and their experiences 10 years earlier. Flanagan daringly cross cuts between flashbacks and the present, and even sometimes unities the two storylines in the same shot. Flanagan uses the back story to inform the audience of the details of how this started, while at the same time using it to terrorize Tim and Kaylie, who aren't quite sure if what they are seeing -- and doing -- is real or not. Flanagan creates a number of eerie visual parallels between the past and present, but eventually the slow-burn suspense sequences and sudden shocks become increasingly repetitive. Throughout the film's slow build-up, Flanagan effectively incorporates some creepy images and the film convincingly earns its frights the old-fashioned way. However, the third act offers an escalation in action accompanied with a scene of shock that doesn't intensify or enhance its predictable, lackluster finale. To his credit, Flanagan takes a dubious premise further than most could. That being said, next time just smash the damn mirror.

Director Jehane Noujaim delivers a riveting documentary with "The Square,"which manages to powerfully convey the chaos, complexity, and inherent dangers of a Revolutionary movement. The film boldly provides a perspective unattainable by journalists, and the activity recorded from 2011 to 2013 captures the passion and defiance of a movement first hand. The fight for a democratic Egypt is far from over, which is part of what makes the film so dynamic and riveting. "The Square" is a documentary that traces the events of Egypt's Tahrir Square protests beginning in early 2011 when millions of people took to the streets to demand the removal of President/Dictator Hosni Mubarek, who held power for 30 years. However, when Mubarek is overthrown, the army steps in to temporarily take over the countries affairs, but does not follow through with their promises to its citizens. After a free and fair election, the military fascist dictatorship is essentially replaced by a religious fascist dictatorship under President Morsi of the Muslim Brotherhood. Once again, the protesters unite and return to the Square to face a violent military oppression. It's a harrowing narrative of people twice betrayed: once by the army and again by militant Islamists who insist on a constitution based on religion instead of secularism. Noujaim tells the story primarily through focussing on three activists, all of whom are friends. A charismatic, young artist named Ahmed Hassan, a British accented actor-turned activist Khalid Abdalla ("United 93"and "The Kite Runner"), and a family man Magdy Ashour, who is a member of the Muslim Brotherhood who finds his loyalties to his friends tested. The film's storyline follows the revolutionaries through the euphoria of victory, followed with the uncertainties and dangers while under military rule that threatens the politics of democracy. "The Square" documents the promise and hope of a better future at the beginning, but by the end, you are left with an overwhelming sense of opportunities lost. While a more detailed back story of political maneuvering would have provided welcome context, its implications for the future are extraordinary. The revolution is a work in progress, a rebellion against an oppressive regime, and a call to arms for true democratic ideals. Informative international media outlets are few, and international news rarely generates much interest in the US. Ever more so it's the courageous filmmakers recording history with handheld cameras that are filling the void.

Director J.C. Chandor follows up 2011's Wall Street drama "Margin Call" with a superbly shot "All Is Lost," a near-silent survival procedural that creates an austere snapshot of human struggle, ingenuity, and perseverance. The film is a testament to the endurance of the human spirit when facing insurmountable odds, while employing only a few lines of dialogue to set the movie's tone. The film begins with an unnamed yachtsman “Our Man” (Robert Redford), in the middle of the Indian Ocean who wakes up to discover that water is pouring into his boat. He quickly discovers that his yacht has collided with a floating metal container and that the hull is substantially damaged. Seemingly unconcerned, he sets about patching up the hull, bails out the excess water and continues on his way. However, with a fierce storm fast approaching, Our Man's problems are far from over. Without language and human interaction, the film relies heavily on its production values. Frank G. DeMarco and Peter Zuccarini's cinematography is fantastic, highlighting the ocean landscape and ominous skies with a limited amount of CG intrusion. Robert Redford is terrific as the lone, experienced sailor battling the elements to survive. The camera is consistently up-close-and-personal with its lone subject, but it never provides any kind of back story for "Our Man." Another **** issue is its lack of inventiveness, and there isn't a moment in the picture or in the story that hasn't been seen or explored before. That being said, there is an appealing simplicity to Chandor's script, which is enhanced with thoughtful direction and an intensely physical performance by Robert Redford that makes for one hell of a ride.

Disney goes all in with "The Lone Ranger" in the hopes of creating another successful franchise similar to that of "Pirates of the Caribbean," by reuniting director Gore Verbinski, producer Jerry Bruckheimer, and Johnny Depp. However, it becomes readily apparent Bruckheimer is attempting to launch a new Western fantasy franchise (with a price tag hovering around a quarter of a billion dollars), by simply cloning his previous lucrative endeavor. "The Lone Ranger” suffers from an overly elaborate plot that contains a muddled sense of humor peppered with moments of out-of-place violence. The movie has an encouraging start, but slips into a lethargic second act, and ultimately ends as an overblown mess that goes on far too long. The year is 1869 and the first transcontinental railroad is nearing completion. As Texas-born attorney John Reid (Armie Hammer) is traveling home from college, when the train he is on is hijacked by a band of outlaws who have come to free their cannibalistic leader Butch Cavendish (William Fichtner) from custody. John joins his brother Dan (James Badge Dale) and the rest of the Texas Rangers to track him down, but Butch Cavendish ambushes the group of men en route, and leaves them to perish in the desert. Left for dead, John receives aid from a Comanche Indian named Tonto (Johnny Depp), whose life John saved in an earlier encounter at the behest of a white spirit horse. Both men want to bring Cavendish to justice for their own reasons, so they decide to team up, with John donning a mask to hide his identity. But on their quest to take down Cavendish and his men, the pair uncovers a larger plot involving railroad tycoon Latham Cole (Tom Wilkinson) that could spell trouble for the native tribes. The erratic nature of the storytelling really hurts the overall result, especially when the film already feels cluttered and completely overblown. While the movie has some enjoyable, entertaining moments, the second act of the film loses steam feeling lifeless and dull when it takes itself far too seriously. Additionally confusing is the handful of dark and violent moments that are present in a summer blockbuster family friendly movie. Another significant issue is the excruciatingly long runtime, which clocks in at tiresome 150 minutes. A mixed bag of conflicting films all in one, "The Lone Ranger" is occasionally entertaining, yet ultimately disappointing. Deviating between violence, gruesome villains, and silly humor, the film never quite figures out what it wants to be and when to call it quits.

"Elysium" is the second feature film from South African writer/director Neill Blomkamp, whose 2009's "District 9" was one of the few recent Sci-fi/Fantasy films that rightfully deserves the title of visionary. Here, Blomkamp delivers a less astounding effort, but an entertaining and appealing socially conscious bit of futurism made on a much larger scale than its $30 million predecessor. However, unlike "District 9," the story of "Elysium" gets lost in battle once the weapons open fire without an exit plan in its mesmerizing futuristic landscape. In 2154, the earthly population is split into two camps. The rich live in the luxurious space station Elysium, where the atmosphere is so pure that diseases are nonexistent. All those who cannot afford to reside in Elysium, must continue to existence on the contaminated soil of Earth. One of its inhabitants is Max (Matt Damon), a former criminal, who now works a routine job at a factory that produces security robots for Elysium. One day at work, Max absorbs a lethal amount of radiation, and he is given a bottle of pills from his employer to ease his pain for the few days he has left to live. With his life on the line, Max agrees to take on a daunting mission that if successful, will not only save his life, but could bring equality to these polarized worlds. Max and his team attempt to kidnap and download financial information from the brain of John Carlyle (William Fichtner), the CEO of Max's former employer. Instead, they download evidence of a coup being planned by Secretary of Defense Delacourt (Jodie Foster), a cold-hearted official in the Elysium government who will do anything to protect Elysium from the unwelcome masses. At a compact 109 minutes, "Elysium" is great-looking entertainment that might have reached its lofty expectations with a longer cut that would allow characters the space needed to develop back stories and expand. Damon’s performance manages to humanize Max to a certain degree, but “Elysium” suffers from some hammy performances, most notably Copley as the video game like villain Kruger. Instead of devoting time to character development and the juxtaposition of the two populations involving associated conflicts, Blomkamp decides to take the action route. The second half of the movie resorts to adrenaline-driven action which grows increasingly tedious with the use of a shaky cam that only leads to a sense of nausea. As in "District 9," Blomkamp shows a wizardly eye who gets the most out of the visual effects, making sure CG images have the proper movement and texture to blend seamlessly with live-action and practical elements. The CGI effects however, while highly impressive, only take us so far, and offer only diminishing returns. Blomkamp's universe is a fascinating place containing interesting ideas, but there's far too much here to satisfactorily explore in its brief run time. Despite falling short as a social commentary and suffering from tonal severity, “Elysium” is most certainly visually stimulating.

Back in 1998, Danish filmmaker Thomas Vinterberg shook up the cinematic establishment with "The Celebration," a devastatingly powerful debut which explores shocking revelations and the power of a lie, and the incalculable, irreparable damage it can cause. Fourteen years later, Vinterberg returns with "The Hunt," which shares many similarities with its celebrated predecessor, and it has received high praise at both the Cannes and London film festivals. "The Hunt," a Palme d'Or nominee, revisits familiar ground, where Vinterberg continues to fan the flames of social unrest in a far more conventional manner. Lucas (Mads Mikkelsen) is a kindergarten teacher in a small, hunting village in Denmark, who is recovering from a painful divorce and working to receive greater custody of his teenage son. He is best friends with the couple that lives next door, Theo and Agnes (Larsen and Hassing), and has a fond relationship with their daughter Klara (Wedderkopp), who is also one of his young pupils. One day, the young girl says some odd things which imply that Lucas is a sexual predator. Suddenly, the town closes ranks against him, and everyone assumes that children don't lie about such things. Klara, though she tries, is unable to take back her words. It’s a childlike act of revenge orchestrated by a little girl who doesn't know any better, and who is trying to avoid further embarrassment or torment. However, the narrative of the story is driven by the adults of this small town. Quickly shunned by a community that once welcomed him, Lucas is left to absorb the nightmare alone, finding even his closest companions unsure of his innocence. Vinterberg maintains a human focus to the story, emphasizing strained relationships and universal suspicion, while capturing the essence of despair as the characters struggle to make sense out of a confusing and volatile situation. "The Hunt” is unsettling and enraging to watch because of Lindholm’s forceful script and the incredibly vivid performances, most notably Mikkelsen’s sensational performance as the condemned man. The film's premise isn't anything particularly new, however, Mikkelsen's powerful performance creates a strong sense of empathy for Lucas which transcends this engrossing nightmare, where simply surviving doesn't mean your days as a target are over.

In director Scott Cooper's "Out of the Furnace," characters clearly take precedence over plot while maintaining a subdued tone that highlights some fantastic performances. However, it's constrained by its meager, inescapable storyline of vengeance that ultimately disappoints. "Furnace" is a much darker and less audience-friendly package than Cooper's Oscar-winning 2009 debut "Crazy Horse." His second film captures the essence of an America slowly crumbling amid economic decay. Events unfold in "Out of the Furnace" with a violent, unpredictable force that life often presents, as opposed to your standard, reassuring screenplay. Filmed in the working-class eastern Pittsburgh neighborhood of Braddock, Pennsylvania, Russell Baze (Christian Bale) has followed in his terminally ill father's footsteps by making a living at the town's steel mill. After serving a four-year sentence for a manslaughter conviction, Russell attempts to put his life back together. He keeps a low profile, but must contend with his old girlfriend Lena (Zoe Saldana), who is now living with police chief Wesley Barnes (Forest Whitaker). His brother, Rodney Jr. (Casey Affleck), is an Iraq War vet with PTSD and gambling issues, who chooses to enter a backwoods fight club as a means of earning money. Rodney and a small-time promoter John Petty (Willem Dafoe) screw things up and are unable to pay a ruthless criminal named Curtis DeGroat (Woody Harrelson). Refusing to acknowledge the dangers that lie ahead, Rodney finds himself in grave danger with unforgiving men. Russell, who is trying to reorganize his life, now sets out to protect his younger sibling. When all is said and done, the movie boils down to a deceptively simple tale of two brothers coupled with a barebones tale of pure, unadulterated vigilantism. Though Cooper consistently uses formal parallelism to link the brothers' dual narratives, the last shot of the film may be its most telling, as it speaks to their constant, all-encompassing sense of imprisonment. Cooper maintains the threat of violence with a guarded presence of despair from the beginning, which can get difficult for some and is often heartbreaking to watch. Cooper isn't exactly breaking new ground here with "Furnace," and he has a tendency to lean on contrivances and misdirection in place of suspense at times. However, his command is admirable, and the performances of Bale, Affleck, and Harrelson unquestionably warrant high praise. For those who like their revenge served cold, "Out of the Furnace" is the very essence of performance.

Choosing the artful director James Mangold "Walk the Line" (2005) and "Knight and Day" (2010), certainly enjoys a much smoother journey to the big screen than its predecessor, "X-Men Origins: Wolverine" (2009). The movie adopts a new, visually appealing setting encouraging a change in tone for the heroic comic book character, with a script written by Scott Frank and Mark Bomback that contains themes of mortality, family, honor, and forgiveness. In "The Wolverine," Mangold, Frank, and Bomback introduce new layers to the popular, charismatic mutant with a tortured soul who is making his sixth "X-Men" franchise appearance. It's a character driven plot that takes the Wolverine into new territory, both figuratively and literally. Logan (Hugh Jackman) is a wolf without a pack, in a self-imposed exile after the ruinous losses of 2006's "X-Men: The Last Stand." The movie takes place mostly in modern-day Japan, where Logan reconnects with a former soldier he shielded from the atom bomb dropped on Nagasaki in 1945. Decades later, the immortal mutant is summoned to the side of the man he saved by Yukio (Rila ****), an electric redhead with superior knife skills, and an ability to foresee the future. The dying Yashida (Hal Yamanouchi), now a billionaire, offers his savior the chance to lose his immortality, and to live a normal life span without his super-healing powers and incredible strength. Logan finds himself mixed up in the succession between Yashida and the Japanese mob, the Yakuza. The Yakuza is trying to assassinate his beautiful granddaughter Mariko (Tao Okamoto), and Logan chases her down cross-country to protect her from harm. Drawing on the influence of Samurai films, the action is refreshingly tactile, with well-choreographed fight scenes and some genuinely impressive blockbuster set-pieces. The high point of the movie is the Tokyo bullet train sequence around the halfway mark, which provides some sorely needed thrills something which the final showdown fails to provide entirely. The third act is overloaded with CGI driven combat scenes which feels overly artificial given its character driven storyline. By the end of the movie however, nothing has really changed, and Wolverine is more or less the same superhero from two hours earlier. This is Jackman's show entirely, and he is as forceful and charismatic as ever. If only he had something more interesting to do here.

Simply put, some movies should never be remade. "Oldboy" serves as a stark reminder with only a few exceptions: Americanized remakes of beloved and admired foreign films inevitably result in disappointment. For viewers unfamiliar with the history behind Spike Lee's "Oldboy," the 2013 film is a remake of the cult-classic 2003 South Korean film of the same name, directed by Chan-wook Park. The Korean masterpiece possess a highly stylized, gritty sensibility while providing an emotional depth to its characters. Iconic director Spike Lee's "Oldboy" is as a handsomely shot piece of genre entertainment, but it fails in its attempt to define itself, resulting into a completely pointless, watered-down underwhelming thriller. An alcoholic whose life is falling apart, Joe (Josh Brolin) is far from the ideal father who is willfully neglecting his three-year-old daughter, Mia. Drugged and kidnapped one night, Joe awakens in a small room with a television, only to learn that he's been framed for the murder of his ex-wife, and will spend the next 20 years trapped in this cell where he is held as a prisoner. During the duration of his imprisonment, he trains his mind and body for escape attempts while pouring his heart out to Mia in letters. After two decades of torment, Joe is suddenly set free, seeking out an old friend Chucky (Michael Imperioli), and meeting Marie (Elizabeth Olsen), an advocate for the homeless who helps him in his cause. Hunting for the individual who locked him away, Joe spares no one as he works his way to Adrian (Sharlto Copley), a deranged man masterminding the mystery Joe and Marie are now determined to solve. Director Spike Lee, working from a screenplay by Mark Protosevich "I Am Legend" (2007), chooses to simply rehash the plot for his American remake, and quickly rushes through the unusual and unique storyline unable to establish an emotional connection with the audience which the original film develops so well. Lee's picture clocks in at a lean 104 minutes, 16 minutes shorter than Park's "Oldboy." As a result, the storytelling is rather straightforward, and it forces Lee to rush through crucial sequences which are not given the adequate time to develop. Subtly goes by the waste side, and almost abandoned completely early into the third act in favor of expeditious explanations. The remake remains largely faithful to the story of the 2003 effort, but seriously lacks in intensity and a sense of meaning. The original film achieves a sublime blending of ultra-violence with extreme art, while the remake feels bogged down in its copycat status, and its overall lighter tone hampers its enigmatic, disconcerting story of revenge. My advice is to avoid this altogether, pull up the original on Netflix, and deal with the subtitles America.

Joshua Michael Stern's "Jobs" is like an assembly line for the best moments in the career of Steve Jobs, but seriously lacking in depth, and without much significance. It is a truly unremarkable biopic of the "master of innovation" as you could possibly imagine. "Jobs" follows an overly safe, unimaginative course that clocks in at a tiresome 122 minutes. The storytelling is painfully straightforward, covering only the principal events of his professional trials and tribulations, and providing little else beyond what is already public knowledge. Developing his imagination for computer programming at Atari, Steve Jobs (Ashton Kutcher) brings in his friend Steve Wozniak (Josh Gad) to help with the hardware aspect, forming a partnership that would soon lead to the founding and development of Apple Computers, a force within the industry throughout the 1980s. Steve is not prepared for the financial demands and the ruthless business mentality, and is eventually forced out of the company he began, only to return in the 1990s with a fresh game plan on how to bring Apple back into the public consciousness, and to dominate the industry once again. "Jobs" is a biopic with a very narrow focus, and without any sense of risk or adventure. It is so intent on covering Jobs' entire corporate career, that it simply reduces his personal life to a footnote. Stern completely glosses over Jobs' personal life, which is essential to any self-respecting biopic. The entire production feels rushed and slapped together simply to benefit from being the first one out of the gate. To his credit, Kutcher puts forth a good effort, and he undeniably looks the part of Steve Jobs. Unfortunately, Ashton always looks like he is trying too hard to play the part, and never fully becomes the character he's portraying. His limitations on the big screen prove to be a major liability. He has developed a screen persona as likeable character, which has served him well with numerous TV sitcoms. Not so much with movies. What emerges is a movie that has "a made for TV" feel, which depicts a self-absorbed creep who stabs everyone in the back to simply to get his way that goes on for two plus hours. A thoroughly unsatisfying tribute, and we are still left none the wiser as to what made "The Father of the Digital Revolution" beyond what we already know.

Based on the ultra-violent comic-book miniseries by Steven Grant, "2 Guns" director Baltasar Kormákur hits all the right notes stylistically, but comes up short on everything else. Don't anticipate a hard-hitting drama or an edge-of-the-seat thriller because the real focus of the movie is on the ever so slightly humorous relationship between its two main characters: Denzel Washington and Mark Wahlberg. Both interact well enough together, but the film falls flat when they're separated, and sometimes it's for long stretches. However, director Baltasar Kormákur shows a great deal of improvement over the last time he worked with Wahlberg in the disappointing, and uninspiring "Contraband" (2012). "2 Guns" is about a pair of undercover agents, neither of whom is aware of his partner's real identity. Bobby Trench (Denzel Washington) is a DEA agent and Stig (Mark Wahlberg) is Navy Intelligence, but both are playing the role of a legitimate crook. Their mutual goal is to take down the cartel headed by Lord Papi Greco (Edward James Olmos). Their plan to do this, which is never really explained in a way that the audience can truly understand, has something to do with robbing a bank where Papi's money is supposedly stashed in safe deposit boxes. After the robbery takes place, however, it comes to light that the stolen money belongs to the CIA and their enforcer Earl (Bill Paxton), and he wants it back. The DEA intends to use it in a trial against Papi because getting a search warrant would be too much of a hassle. Naturally, our heroes end up being targets for what they know, having to finally work together to piece together your standard run-of-the-mill double cross extravaganza. The real business of "2 Guns" is the camaraderie between the two bickering leads, which comes across a lot like flirting. They finish each other's sentences, order each other's breakfast, chat about "Les Misérables," and even have a scene where they stroll into the sunset arm in arm. There are chases, shootouts, and explosions, but there is nothing here you haven't seen before. With the exception of the final shootout sequence, the cinematography rarely impresses. There is limited amount of fun had in watching how Bobby and Stig survive a variety of seemingly inescapable situations, but sadly the predictable plot keeps getting in the way of all the action. The elements gel well enough to make "2 Guns" an enjoyable summer cinematic experience. However, it is never any doubt how things will play out, and it's nothing likely to resonate after the dust has settled.

Director Alexander Payne "Sideways" (2004) and "About Schmidt" (2002) deftly handles the road-movie plot structure once again with dark humor and satirical depictions of contemporary American society, yielding fantastic results yet again, as a heartfelt journey to examine his frail and flawed characters. Payne himself is a Nebraska native who felt strongly that the movie be filmed black and white to capture the mood of the old American heartland, and in order for the film to receive funding from Paramount, he had to settle for a smaller budget. As a result, Payne films and casts the movie in local communities with actual residents which provides a realistic texture to the family bonding tale. "Nebraska” is a humorous and heart-rendering story of family, but it also sheds a light onto the people of America's heartland, and our countries economic, moral, and cultural decline. "Nebraska" starts as a road movie, with a father and son traveling from Billings, Montana to Lincoln, Nebraska. David (Will Forte) has decided to indulge his father Woody (Bruce Dern), who is struggling with dementia and thinks that he can pick up his $1 million in winnings from a magazine distributor in Lincoln. En route, they stop for the weekend in Hawthorne, Dern’s hometown, where they're joined by his wife (June Squibb), and his other son (Bob Odenkirk) amidst your stereotypical Midwestern relatives and friends, all of whom are extremely interested to learn that there’s now a millionaire before them. The central relationship between Dern’s stubbornly gullible dad and Forte’s passively irritated son gradually deepens as the movie makes its way through middle America. What makes the film such a delight to watch are the individuality of its characters. Each one is fun to watch in their own right; the father’s relentless determination, the mother’s humorous outbursts, and the son’s sympathy and desire to bond with his father. "Nebraska" reaches an emotional conclusion that echoes of "About Schmidt" and "The Descendants" (2011) with an underlying sense of lives largely squandered, but handled with grace and finesse that feels innately genuine. "Nebraska" is another finely tuned, superior slice of cinema crafted by Alexander Payne who achieves a more mature, sentimental tone than previous films. The all-around marvelous performances from the cast and supporting non-professional actors add an unmistakable authenticity to this slice of Americana.

"A Hijacking" features excellent performances from two protagonists, delivered in an unflinching fashion that lays out the scenario, and simply allows the raw emotions to transpire on their own. The timing of the release on Blu-Ray coincides with the theatrical release of "Captain Phillips," which stars Tom Hanks and directed by Paul Greengrass. The films both tell the same story of cargo freighters hijacked by Somali pirates who seek millions in ransom. Aside from the similar subject matter however, the two films could not be any more different. "Captain Phillips" is an appealing action thriller concerned with presenting a satisfying, pulse-pounding conclusion for its audience. "A Hijacking" is a tense, grounded-in-reality based drama without the sense of comfort of a predetermined finale. A Danish cargo ship named the "MV Rozen" is en route to Mumbai when Somali renegades gain control of the vessel and demand millions for the return of the ship’s seven-man crew. Negotiations ensue between the corporate office and the pirates that follow the give-and-take of everyday business deals, with one important difference. In this case, the goods are human beings. Shot with handheld cameras, the movie cross-cuts between two perspectives: the captured vessel’s cook Mikkel Hartmann (Pilou Asbæk), and the maritime company’s hands-on CEO Peter Ludvigsen (Søren Malling). At the outset, the two characters share a common interest, but as the bartering drags on for months, the uncertainty of an outcome takes these two men in very different directions. Danish director/writer Tobias Lindholm perfectly balances the dual psyche of the captive Mikkel and corporate CEO Peter, two psychologically exhausted protagonists in remarkably different ways. A tense, slowly unwinding ticking-clock drama this may be, but the film is as much a character study, both the powerful and the subordinate, existing under extreme duress with life or death consequences attached to their decisions. The film isn't a white knuckle ride and the pacing is slow at times, but this is one of the cases where that’s exactly the point. Lindholm's account of a contemporary piracy situation doesn't offer the commercial appeal of "Captain Phillips," but it is nonetheless completely engaging and riveting material. There could have been several predictable avenues taken by Lindholm when telling this harrowing tale of survival and perseverance, but instead he charts into unexpected territory, and delivers real drama.

"Triad Election" takes viewers deep into a ritualized world of the Triad Society crime organization which is full of betrayal, backstabbing, and power-grabbing moves for power. The movie contains complex characters, scheming political machinations, and explosive action sequences that creates balance against Jonnie To's unique directorial style and subversive plot twists. "Triad" is the sequel to the wildly successful "Election" (2005), which earned a number of awards and nominations including Best Film, Best Director, and Best Screenplay at the Hong Kong Film Awards in 2006. The "Triad" storyline expounds from its predecessor with a political subtext: the candidates here, elegantly played by Koo and Yam, are not only trapped by their own lust of power or wealth, but also by the mainland Chinese government’s omniscient influence. To merges an intelligent screenplay with the hardball tactics of the Hong Kong underworld which contains political undertones and transcends an otherwise conventional crime drama storyline. The slow burn caper maintains a business-like atmosphere, while its general sense of tranquility is interrupted with sudden bursts of intense violence. Noticeably absent is the trademark two-fisted gun play, sunglasses, and highly stylized action sequences so prevalent in Woo's films. To underplays the spectacle of violence he's more interested in the how the escalation reveals the character of the candidates. The majority of "Triad Election" is about the political maneuvering of organized crime, but when the conversations end, make no mistake, the blood flows mightily. "Triad Election" strongly resembles "The Godfather Part II" (1974), but it's resolutely a Chinese story, reaching back to the origins of Hong Kong crime syndicates, and showing how they struggle to keep a foothold in a modernized world. There are great modern crime movies out there Michael Mann's "Heat" (1995), Martin Scorsese's "Goodfellas" (1990), and Andrew Lau and Alan Mak's "Infernal Affairs" trilogy. "Triad Election" unquestionably belongs with such illustrious company.

Legendary director Jonnie To's "Drug War" generates a powerful suspense with extended action set-pieces that are truly exceptional, but it's the intense underplayed performances that ultimately leaves its lasting impression. To pulls out all the stops in this high-octane police procedural, shot predominantly in the Jinshan district on the Chinese mainland. This vast, operatic melodrama exhibits some extreme smarts in its bare bones approach to a drug unit's relentless pursuit of a drug cartel. The film proceeds with sequences that establish the war on drugs as neither a heroic crusade, or a hopelessly unwinnable war. They are no metaphors here it's a world where people make choices, and as a result, events unfold simply as a matter of process. Manufacturing just fifty grams of meth in China will earn you a death sentence, and Timmy Choi (Louis Koo), manufactures on a massive scale. After a large meth lab explosion, Choi is under arrest and in the custody of Captain Zhang (Sun Honglei). Now he has only one chance to avoid execution: turn informant and help Zhang's undercover team take down the powerful cartel. As the uneasy allies must compress months of police work into just 72 sleepless hours, the increasingly desperate police are quickly stretched past their limits. As things spin wildly out of control, the line between duty and recklessness becomes vague, and it becomes unclear who truly has the upper hand. The first act of "Drug War" is an epic manifestation of To's talents: The camera is never in the wrong place, and we're swept effortlessly into the mindsets of a dozen people in the first act with few words or wasted gestures. The film works thanks to the riveting performances of Sun Honglei and Louis Koo. In addition to his two strong leads, To creates a large gallery of dynamic supporting characters, most notably two mute brothers played by Guo Tao and Li Jing who at first appear as comic relief, but eventually play a larger role in the story. The balancing act of the film relies on a long build-up for a large payoff. Director To incorporates just enough action and throughout to keep things interesting before the chaotic, bloody onslaught erupts in the third act. The visceral, brutal shoot-out between opposing sides takes place on a suburban street filled with pedestrians and children. It's intense and unflinching, with a fantastically dark resolution to the story. "Drug War" isn't particularly insightful or a profound viewing experience, but those looking for a top-notch thriller will be more than satisfied by this low-key masterpiece.

"The Counselor" is a flamboyant exhibition of attitude and style coupled with sociopathic behavior, and it becomes readily apparent that its style doesn't mesh with its content. Despite being ultra-violent and bleak, the movie's dialogue is brimming with long-winded philosophical conversations that will alienate as many viewers as it pleases. "The Counselor" suggests that humanity at large is too self-centered and broken to overcome the solitude of our existence, while it simply throws up obvious signposts of symbolism for what lies ahead. Working as a screenwriter for the first time after years of seeing his novels successfully adapted to the big-screen --"No Country for Old Men" (2007) and "The Road" (2009) Cormac McCarthy is stretching his powers of language, his razor-thin storyline, and the cast of characters way too far. Set along the Texas/Mexico border, the counselor (Michael Fassbender) is an El Paso lawyer who decides to finance a major drug deal through one of his clients, nightclub owner Reiner (Javier Bardem). There is no back story for the counselor, except that he’s in love with a sexy woman named Laura (Penélope Cruz), and he has undefined money troubles. It’s the usual routine for a lifelong law-abiding lawyer gone bad: one major drug heist and I’m out. His clients who are now turned partners, Reiner and Westray (Brad Pitt), orchestrate the cartel delivery from Mexico to Chicago. They also make clear to the counselor that Mexican drug cartels don't mess around, in case anyone wasn't aware. Naturally, the deal goes bad due to a coincidence, and the counselor scrambles to make things right, only to face the severity of his one bad decision. The movie quickly identifies the person pulling all the strings, Reiner's scheming, cheetah-obsessed mistress Malkina (Cameron Diaz). There’s nothing left to do now but wade through the numerous decapitations, shootings, and sexual perversity. The movie revels in painting the bizarre, outlandish behavior of its wide-ranging cast of characters. There are an endless array of enigmatic conversations along with the constant inclusion of supporting characters and distracting cameos are never fleshed out to satisfaction. The bulk of the film consists of wordy meetings where characters interact using dense philosophical dialogue about the nature of their actions and greed, crimes and punishment, all while suggesting that the counselor will be the one to eventually take the fall. A major issue with the movie is that the thin plot is obviously predetermined, and there is little point in seeing it through to the end. Both the counselor and his girlfriend are so bleakly fated from frame one they might as well have "victims" tattooed on their forehead. Director Ridley Scott seems so infatuated with the script written by McCarthy that the pace of this sketchy story is in complete shambles. Cormac McCarthy suffers in his first cinema-born effort of trying to insist on his themes too insistently through only the dialogue. Here, characters deliver lines like “The truth has no temperature” and "grief transcends value" and when spoken by people, the words ring hollow and overly theatrical. "The Counselor” must have looked great on paper, but it doesn't translate well on the big screen. Except for an unforgettable scene with Cameron Diaz who gets off on the windshield of Reiner's convertible, we can only wonder what could have been.

Adapted from Dennis Prinz's novel, which is based on real events, "The Robber" has all the elements of a penetrating character study. Unfortunately, director Martin Heisenberg doesn't always use those elements to his advantage. The story is about Johann Rettenberger, an Austrian bandit/marathoner known as "Pump-gun Ronnie." Heisenberg takes a muted, non-psychological approach to his story, and without much in the way of emotional engagement, keeping viewers engaged is certainly more challenging than need be. Andreas Lust stars as Johann Rettenberger, a serial bank robber who has spent a six-year bid in prison training as a long-distance runner. After being released from prison, Johann runs into Erika (Franziska Weisz) at the Job Center which helps ex-cons find work. The dialogue makes it clear they've met before, but the narrative annoyingly withholds any connection to their past. Why is the beautiful, well-to-do Erika so drawn to this emotionally distant career criminal? Ultimately, Johann returns to Vienna and combines his two true passions and what he knows best running and knocking over banks. His dominance on the marathon circuit gets him noticed, as does his daylight bank heists. Notoriously referred to as "Pump-gun Ronnie," after the Ronald Reagan mask he wears and the shotgun he brandishes. To this day, Rettenberger still holds the record time in the Bergmarathon, a world-famous marathon held in the Austrian Alps. Frustratingly, we never really get a sense of who Johann is or what motivates him. He is expressionless, cold-hearted, and remains distant throughout. Heisenberg's treatment vividly communicates Rettenberger's neurotic defiance and destructive behavior, but that's no substitute for enabling the viewer to become invested in the character's fate. Johann does not let people into his life, and is a blank cipher as to why he leads the life of a bank robber. It is clearly not the money. Maybe it's the rush he gets, or maybe it is an unexplained obsession. The filmmaker leaves it for the viewer to decide. Although Heisenberg tries to suggest the robberies provide Johann with an adrenaline rush similar to that he experiences while running marathons, the character fails to show any sense of pleasure or catharsis that would make this parallel interesting. Technical aspects of the film are highly impressive, and the incorporation of Johann into actual Vienna Marathon provides a real sense of authenticity. As a matter of execution, the film's last act is undeniably thrilling. Exceptional work by steadicam operator Matthias Biber gives all the chases and action sequences a visceral energy. "The Robber" could have been a great representation of compulsive behavior. As is, it is a rigid film that is technically sound with a fascinating lead protagonist we still know nothing about.

"1408" is one of the good Stephen King adaptations, one that maintains its author's satirical view of human nature. However, it's not the script (by Matt Greenberg, Scott Alexander, and Larry Karaszewski) that deserves most of the credit. Director Mikael Hafstrom "Derailed" (2005), who fares far better here than his debut, never resorts to the cheap tricks and gruesome visuals, while creating scares through a suffocating sense of claustrophobia and suspense. The movie appeals to an old-fashioned sense of horror that differs from your typical slasher flicks loaded with unrelenting carnage. Mike Enslin (John Cusack) is a professional skeptic. He makes his living by visiting supposed haunted houses and writing about the absence of ghosts. For him, room 1408 at New York's Dolphin Hotel is too good a challenge to pass up. In its nearly 100 years of existence, 56 people have died in that room. The hotel's manager (Samuel L. Jackson) advises in the strongest terms that Mike not stay there. "No one," he advises, "has lasted more than an hour." At first, Mike is not impressed by the ordinariness of the accommodations. Then strange things begin happening, and by the time he decides that checking out early might be the wisest decision, that option no longer exists. Too often, we see a movie with a good setup ruined with a subpar ending. "1408" deftly sidesteps the pitfall, delivering a conclusion that manages not to disappoint, while at the same time leaving things open-ended enough for viewer interpretation. Most of the movie focuses on Cusack, alone in his room, trapped in an escalating environment of paranoia. He uses his good natured disposition to get the audience's acceptance, and once that's accomplished, the film has us. It's riveting to watch his cynicism and disbelief give way to the horror of what is actually happening. Despite Mike's mantra "We don't rattle, do we?" The answer is in fact, we do.

"Antibodies" tips it hand far too early and closes with an inexplicable third act, but succeeds in creating an unsettling atmosphere with a palpable sense of terror throughout. Slick and sadistic, this German serial killer thriller delivers some chills respectively, but it's not nearly as clever or as compelling as it thinks it is. Serial killer Gabriel Engels (Andre Hennicke) is captured while fleeing from his apartment, because he is the prime suspect in the killing a young girl several years earlier. Small-town cop Michael Martens (Wotan Wilke Möhring) has been investigating the 18-month-old unsolved murder, and may now have his big break in the case. Michael must go to the big city to interrogate the suspect, in the hopes that he'll get a confession. His decision unexpectedly pays dividends, and details slowly begin to surface. Möhring's deeply conflicted performance anchors the movie, as the confession from Engels and his mind games slowly push Michael back towards his own hometown. But soon, as Martens comes under the influence of Engels, he finds himself in a dark place and questions his own faith, as well as his entire existence. The plot twists and mind games that should shock and surprise are transparent and obvious, while director Christian Alvart tips his hand too early in a film where the run time clocks in at two plus hours. The third act of "Antibodies" shifts its primary focus to Michael and his son, and it creates one of the strangest biblical allusions I've ever seen. The story shifts from the profile of a serial killer to that of a man's existential identity crisis, and then to his redemption, when he didn't seem to deserve it in the first place. Desperately attempting to create the illusion of something profound, it backfires and comes across as absolutely absurd. In comparison to other films in the serial killer genre, this one hovers somewhere just above middle of the pack at best.

The mega summer blockbuster "Pacific Rim" delivers plenty of eye-popping action and battle sequences galore, but there is not enough beneath the pyrotechnics to leave a lasting impression. The very notion of giant robots trading blows with monsters across the world is likely to induce as many groans as it is cheers. Those cynical of the premise, though, may find themselves somewhat interested that director Guillermo del Toro is bringing his signature flourish to "Pacific Rim," an ode to Japanese monster cinema. Kaiju originates as a Japanese word roughly translating as “strange monster,” but more pertinently here, Kaiju is the name for this entire genre of sci-fi, where massive creatures step on buildings and threaten to destroy civilization. The future of the world is threatened by an alien force, which unexpectedly, comes not from outer space, but from the center of the earth. In an attempt to stave off the seemingly inevitable domination of these creatures and the destruction of mankind as we know it, an army of giant robots manned by elite commander Stacker Pentecost (Idris Elba), and his crack team including renegade officer Raleigh Becket (Charlie Hunnam), and rookie soldier Mako Mori (Rinko Kikuchi), head to the edge of the Pacific Ocean for the mother of all showdowns. "Pacific Rim" will fully satisfy the summer blockbuster demographic and sell lots of popcorn, but the repetitive visual fireworks eventually runs thin over the course of 131 minutes. The films set pieces, in particular the destruction of Tokyo, and the climatic battle at the earth's core between the man-made monsters and their non-human adversaries, are undeniably impressive. The action is gigantic, with elaborate CG-animation staging showdowns in pouring rain or at the bottom of the ocean, delivering on sophisticated movement that’s utterly convincing. However, it stumbles in its attempts to inject spirit into the proceedings, and interactions and dialogue between the central cast of humans provides nothing to the experience. That being said, if you're a fan of big, loud popcorn movies, "Pacific Rim" is unquestionably a cut above the gnarled heaps of metal that was "Transformers" (2007).

"Evil Dead" comes across as more **** homage, alienating itself from fans looking for the franchise's trademark of unrelenting gore and tongue-in-cheek humor. The latter-day version of "Evil Dead," directed by Fede Alvarez, keeps the main focus on the gruesome element alone. Full of old-school effects, without any assistance from CGI, Alvarez's franchise entry has little to none of Raimi's humor, but certainly delivers on the carnage and bloodshed. The heart of story remains intact: five college-age men and women head off to an isolated cabin in the woods. They are staging an intervention designed to get Mia (Jane Levy), who is no longer able to socially use heroin. Her four supporters are her estranged brother, David (Shiloh Fernandez), and his personality-devoid girlfriend, Natalie (Elizabeth Blackmore), registered nurse Olivia (Jessica Lucas), and Eric (Lou Taylor Pucci). In the cabin's dark, damp basement, they discover the Necronomicon, or better known as the book of the dead. Eric, in an act of overt horror movie stupidity, starts reading passages from the Necronomicon unknowingly unleashing the demons. In his first feature film, Uruguayan director and co-scriptwriter Fede Alvarez demonstrates his wild imagination, and displays his talent for delivering the squirm-inducing images of body mutilations and other numerous atrocities. A nail gun, an electric carving knife, and a chainsaw all have their moment in the spotlight as weapons. What this new entry lacks entirely, which is so prevalent in the other movies in the franchise, is the tongue-in-cheek humor that accompanies the over-the-top gore and violence. In the three decades since Raimi made "Evil Dead," many have copied, adapted, or borrowed from his low-budget playbook. It's extremely challenging to pull off something original, amusing, and truly horrifying all at once. That is exactly what made last year's "Cabin in the Woods" (2012) such a clever, entertaining watch, and a terrific addition to the genre. Sam Raimi and Bruce Campbell, who directed and co-starred in the original horror classic, have production credits in this component, yet ultimately disappointing remake. Take away the name of "Evil Dead," and you're left with a movie that features your typical brainless characters who exist simply for elimination through horrific methods.

Nauseating and amusing in equal measure, "Evil Dead" is one horror movie that easily obtains its cult status, managing to surpass even your wildest imagination of gore and visceral violence. This is the first installment of the popular Evil Dead trilogy a low-budget, B-grade gore-fest horror film with the Stephen King quote-tagline: "the ultimate experience in grueling terror." A thinly scripted screenplay becomes a kaleidoscope of skewed camera angles and energetic panache under Raimi’s remarkably assured guidance and direction. His debut might be short on budget, but it’s hardly bereft of ideas or spirit. Five Michigan State University students spend the weekend in a remote Tennessee cabin, and inadvertently unleash dormant, demonic, evil spirits. In the cellar of the cabin, they find an archaeologist's tape-recording describing the contents of the Naturon Demonto (Book of the Dead). Unaware they are unleashing demonic forces one by one they must fight off evil spirits, and avoid becoming demoniacally possessed. It’s obvious that Raimi takes great pleasure in all of his demented material, and he’s eager to share it with an audience that’s left equally shocked and thrilled. "The Evil Dead" is much more of a straight horror movie than its successors, but it’s no less fun. Heads and arms are frequently severed, but it's all done in such a fun spirit, and in a over-the-top manner that it's difficult not to grin. "The Evil Dead" is at times genuinely creepy, due in part to the imaginative camera-work devised by Sam Raimi, and cinematographer Tim Philo. The "shaky cam" (in which the camera gave us the point-of-view of the demon rushing through the woods), became a staple of the Evil Dead series. Raimi and company empty the tank of all its gore, make-up, camera, and stop-motion tricks into an unforgettable, resounding success of entrepreneurial filmmaking.

Maximum visceral impact is what "Evil Dead 2" is all about-- and it delivers. The brilliance of "Evil Dead 2" is found in its psychotic blend of over-the-top gore, and it's fantastic sense of humor. Not a sequel so much as an elaborate do-over, "Evil Dead 2" amps up the ghastly laughs to generally thrilling results. As in the first film, director Sam Raimi lets out all the stops and plays on almost every cinematic trick in the book. Although the movie is obviously indebted to any number of sources, the film has an infectious energy all of its own. After a high-speed recap and continuation of first film's ending, Ash (Bruce Campbell) ventures out to that same lonely cabin for a romantic weekend with his girlfriend (Denise Bixler). There he discovers the same tape recorder again. When the voice reads a translation of the "Book of the Dead," a vicious evil force awakens in the woods, and rushes into the house, and all hell breaks loose once more. Despite "Evil Dead 2" being more of a rehash than a sequel, it's the tone of the two movies that are significantly different. While the original is more of a conventional horror movie, the sequel ventures into full-blown surrealism. While both movies contain moments of humor, "Evil Dead 2" raises the comedic stakes. Campbell's performance shifts to match the needs of the humorous script, and Ash is now all swagger, spitting out one-liners and taking on the forces of darkness with style. The overall intensity and old-school effects give the film a lovable quality that high-tech movies just can't provide nowadays. An acknowledgement to Mark Shostrom's prosthetic makeup and the camera work of Peter Deming and Eugene Shlugleit. Vivid, utterly unique, and quickly paced, ''Evil Dead 2'' is one of the goofiest, goriest movies this side of the grave.

Director Kiyoshi Kurosawa constructs a captivating, complex universe in "Cure," and one that cannot be reduced to simple answers and established truths. On the surface, Kurosawa has seemingly constructed your standard procedural police thriller, but as the story slowly unfolds, it develops into a fascinating, perplexing psychological mystery. From the startlingly violent opening sequence, it's clear we're in the hands **** director in complete control of his medium, and who focuses on heightening the senses to create an atmosphere of trepidation. Kurosawa pulls his story in the opposite direction of a typical detective story, and brilliantly turns a routine thriller into a vehicle of social criticism. The first half of "Cure" unfolds as a police-procedural. A wave of gruesome murders is sweeping Tokyo, and the only connection between them is a bloody X carved into the neck of each of the victims. A variety of unlikely killers are responsible for the slayings, all of whom have encountered a disoriented young man named Kunio Mamiya, played by Masato Hagiwara. He possesses a hypnotic effect on people, but has no apparent memory of it. His lack of memory appears contagious, and the eventual killers succumb to it as well. Detective Takabe picks up bits and pieces about hypnotic suggestion, a theory he tosses out early in the film, and it is also rejected by his psychiatrist friend, Makoto Sakuma (Tsuyoshi Ujiki). The trail of dead bodies, however, eventually leads to Mamiya, who's been held in a mental hospital. The second half of the film involves Takabe dealing with his own emotional issues, and his wife who has a deteriorating mental condition, whose symptoms include an inability to recall recent events, and in this way she and Mamiya appear quite similar. This increases Takabe's frustration with Mamiya, as the boy's refusal to respond to simple requests reminds him all to well of the issues at home. Takabe would most likely be Mamiya's next victim, however, he does have one advantage that Mamiya's other victims didn't: his growing knowledge of Mamiya's abilities. Just as Mamiya is hypnotically manipulating his prey, Kurosawa is also skillfully manipulating the audience, taking us into a world of uncertainty, and a slow descent into pure madness. Kiyoshi Kurosawa deserves credit for his unique visual approach, and his evasive approach to storytelling. He establishes a pervasive sense of detachment by utilizing barren landscapes, and filming scenes with isolated frames. Almost no music is present during the movie, adding to the feel of extreme isolation, and instead amplified everyday sounds create the tension. Inevitably, the indefinable cure for the unconscionable murders serves as a tragic allegory for the emotional disconnect of our society. The film eerily presents the impersonal nature of our contemporary existence with extraordinary direction. Mr. Kurosawa constructs an elaborate psychological labyrinth, and then strands us in the middle of it, with no definitive way out. A master of disquiet, Kurosawa touches on the forbidden zones of our existence, exploring the unseen, and probing the unspeakable.

"Oldboy" is a mind-bending revenge tale that ventures into the emotional extremes, and there is no chance of emerging unscathed. Full of grand passions, bloodthirsty violence, with a wicked sense of jet black humor, "Oldboy" is a sadistic masterpiece. The director, Park Chan-wook, is one among several filmmakers who've made South Korean cinema what it is today, and requires a viewing at least once by serious moviegoers. The plot is utterly unique: Seoul businessman Dae-su Oh (Min-sik Choi), is kidnapped one rainy evening by parties unknown. He awakens in a seedy motel room complete with hideously tacky wallpaper, threadbare carpet, a double bed, and a television but in reality, it serves as a cell. Days, months, and years go by with no explanation given for his incarceration. A daily meal comes through a tiny slot in the door, and every so often sleeping gas seeps in as well. From the television in his room, he learns that he is the prime suspect for the murder of his wife and now, even if he escapes, he's a wanted man. Fifteen years later, Dae-su awakes one day on a grass-covered roof of a downtown building in Seoul, outfitted with a finely tailored suit, a cell phone, and a wallet stuffed with cash. Before Dae-su can begin a new life, he must answer several key questions about his imprisonment. Only after he has these answers can he exact his revenge and turn the page. Meanwhile, his captor decides to turn Dae-su's quest for answers into a cruel, exhausting game that will push him to his limits. Additionally, he has just five days to not to only find out why he was held captive, but to also identify his tormentor, and seek his revenge. The committed performance by Min-sik Choi strikes a genuinely tragic note amid the mayhem and cartoonish excesses of violence. He does a marvelous job walking on the edge of insanity, while retaining likability and compassion from the audience. Superlative acting across the board, and a pulsating score to compliment the arresting imagery, while the true astuteness of the script will reward only on further viewings. "Oldboy" has a wild, twisty storyline on such an epic scale emotionally, and it rarely slows down to consider the logic of some of its most outrageous plot contortions. The revelation in the third act is a bit of a letdown considering the thrilling, ambitious set up. Cinematic in the extreme, the movie has an emotional core that will leave some viewers stunned, yet others disgusted. As tough as it is to endure it is brutal, yet brilliant and it is undoubtedly a work of art. "Oldboy" is the second installment of The Vengeance Trilogy, directed by Park Chan-wook, preceded by "Sympathy for Mr. Vengeance" (2002) and followed by "Lady Vengeance" (2005).

The combination of Hollywood nepotism and a quickly fading directorial star provides the backbone for the futuristic sci-fi lack-of-adventure yarn "After Earth."In just his second picture since 2008, Will Smith teams with fellow Philadelphian M. Night Shyamalan, who is working from a story written by Smith, and a script by Gary Whitta "The Book of Eli" (2010). The once-revered auteur has long since fallen from grace, to the extent that his name was notably absent from any of the film's advertising. However, "After Earth" has problems that go far deeper than Shyamalan's bland tone and lethargic pacing. The movie is rarely fascinating, incredibly pedestrian, and curiously unimaginative. Shyamalan wastes no time commencing his narrative gimmick by announcing the rules of the story. It has been a thousand years since Earth self-destructed, ravaged by natural disasters and a deteriorating environmental infrastructure. The surviving humans evacuated the planet, settling on a new home known as Nova Prime. For 13-year-old Kitai (Jaden Smith), who is training to become a ranger like his often absent father, General Cypher Raige (Will Smith), he worries that he will let his dad down if he doesn't follow in his footsteps. The elder Raige decides to bring him along on his last mission before he intends to retire. En route, a meteor shower damages the spacecraft, causing it to crash-land on the now-uninhabitable Earth. With the rest of the crew dead and Cypher badly injured, it is up to Kitai to travel 100 kilometers across the harsh and wild landscape to find the tail of the ship and retrieve the beacon that will send help their way. If he doesn't succeed, father and son will perish. The special effects are adequate, but are noticeably fake compared to other effects-driven films like "Star Trek into Darkness" (2013) or "Oblivion" (2013). The film tries to tackle, on the most superficial level, the rites of passage. But with such a bland story and weak performances, the underlying meaning in the film only leads to indifference. Jaden Smith, who was decent in "The Karate Kid" (2012), completely falls flat in his performance for this role. The complete lack of emotional range stifles any of the hopelessly unimaginative screenplay's contrived father/son drama. The elder Smith may have a story credit here, but "After Earth" is not only an obvious attempt to keep his son relevant, but it is also a by-the-numbers survival story that never manages to surprise or excite despite an endless array of possibilities. "After Earth" feature's excessive CGI effects that rarely impresses, an A-list actor sitting on the sidelines, symbolism as obvious as the narrative is predictable, and is relentlessly uneventful. On a positive note for Mr. Smith, it's not nearly as bad as the completely forgettable "Wild Wild West" (1999).

"The Central Park Five" serves as a warning about legal incompetence, innocent lives destroyed, and a judicial system vulnerable to manipulation. The documentary details a nightmare scenario for five Harlem teenagers facing hard time, and the condemnation of America for a crime they didn't commit. The production sets the situation immediately, introducing the viewer to NYC in the 1980s, where Wall Street is in the process of rebuilding its reputation, while crack ravages the inner city, creating an explosive racial divide. The film examines the infamous 1989 Central Park Jogger case, where a young white woman is brutally beaten and **** in New York's Central Park. At the same time, a group of five young black and Latino teenagers were quickly arrested for the crime and imprisoned. Following swift arrests by law enforcement officials, the prosecutors proudly declared the conviction as a step forward in the reclamation of a the city. Despite the lack of concrete evidence, all five are found guilty on multiple charges. Raymond Santana, Yusef Salaam, Antron McCray, Kevin Richardson, and Kharey Wise each spent between six to 13 years in prison, professing their innocence, while maintaining that it was a coerced confession to the crime. However, a chance encounter between the oldest of them and convicted serial rapist Matias Reyes, who years later yields his free admission of sole responsibility for the crime, and the claim is further substantiated with DNA evidence. The documentary's approach seamlessly blends past and present, re-examines the assault, and walks you through what happened to the teenagers, from their arrest through their exoneration. Burns captures the complexity of history with startling results, yet "The Central Park Five" isn't quite as comprehensive as hoped, and fails to add anything substantively new to the story. Additionally, an element of balance is missing that would have turned a very good documentary into an exceptional one. "The Central Park Five" presents the facts of the case with clarity, and it is a courageous, revealing look at the often complex and broken legal system in the United States. Unfortunately, there is no avoiding the conclusion presented by historian Craig Steven Wilder: "Rather than tying [the case] up in a bow and thinking that there was something we can take away from it, and that we'll be better people, I think what we really need to realize is that we're not very good people."

"Room 237" is a subjective documentary that gives voice, and only voice, to five fanatical obsessives who have developed numerous theories based on sensational clues in the subliminally glimpsed details within Stanley Kubrick's classic "The Shining." There are five very different points of view illuminated, and first time director Rodney Ascher utilizes voice over, film clips, animation, and dramatic reenactments. These elements together draw the audience into a new labyrinth, one with endless detours and dead ends presenting many ways in, and ultimately no definitive way out. Ascher has intelligently presented his film with a working balance between the sublime and the ridiculous. In order for "Room 237" to work it must establish some credibility to avoid becoming an outright parody of sorts. Kubrick was a notoriously meticulous filmmaker, and there are a series of continuity "errors" in the film that do genuinely seem out-of-place. Persuasive arguments coexist with far-fetched notions as our narrators find symbolism and metaphors in the most innocuous places. Most of the speakers were let down with their first viewing of the film, but went back to it, convinced that a brilliant cinematic director couldn't just produce an overly mannered misfire. There must be something more to it than just that. They started to map the geography of The Overlook Hotel, read the posters and props, studied the set decoration for clues. The conclusions widely vary from our group of obsessed fans, suggesting the "The Shining" was really about the Holocaust, a Greek myth, American Manifest Destiny, the genocide of the Native Americans, and Kubrick's formal apology for his part in the faking of the moon landings by Apollo 11. We don't know to this day whether Kubrick intended to disguise symbolism into "The Shining," as though he were challenging moviegoers. He did not leave any interviews, magazine articles or books revealing this intention like the magician who even on his deathbed would not reveal his tricks. But this omission is the very thing that allows Ascher to glorify Kubrick as a man who could create a real sense of mystery and unease. For example, the typewriter used by Jack in the movie is a crucial piece, as is the repeat of the number 42, which appears on a jersey and elsewhere. As one of the narrators states, “If you put the number 42 and a German typewriter together, you get the Holocaust.” I wasn't aware of that relationship either, but Ascher illustrates this part of theory by cutting from the notorious tsunami of blood in “The Shining” to a photo of Auschwitz, and then back to Kubrick’s red wave. “Because it was in 1942, the **** made the decision to go ahead and exterminate all the Jews they could. And they did so in a highly mechanical” --Mr. Ascher cuts back to the Jack's typewriter “industrial and bureaucratic way.” Mr. Ascher’s documentary is something of a maze, puzzling your way through its compilation of vaguely lucid and outlandish ideas is unquestionably entertaining for avid movie lovers. It does raise interesting ideas about how we view films, and what happens if we take the act of viewing a movie into a deeper, more fundamental experience. Thought provoking all of this is, but then again, you're likely to leave the theater with the underlying feeling that "It's nothing more than an interpretation."

The spellbinding power of this Oscar nominee for best documentary comes from its chilling subject matter, a notorious pedophile priest and the cover-up of his heinous acts by the Roman Catholic hierarchy in the state of California. Director Amy Berg's documentary is clear-sighted and tough-minded a portrait of individual criminality and institutional indifference. A study in the betrayal of trust, and the irresponsibility of authority. In addition to giving faces and voices to victims who are often anonymous, it offers an interview with a convicted ex-priest who admits his crimes without remorse. "Deliver Us from Evil" presents three case studies of Father O'Grady's abuse. Simply put, jaw-dropping. In the 1970s and 80s, Father O'Grady was serving as a parish priest in several towns in Central California, where he molested children over and over again, both boys and girls, including, a 9-month-old. Filmmaker Amy Berg masterfully exposes just how deeply rooted the corruption runs. Armed with anguished testimony from the families of the abused and their lawyers, she seamlessly presents indisputable evidence that the Church knew about O'Grady's activities. The hierarchy moved him from one parish to another, simply to avoid public scandal, and to prevent destroying the careers of those in power. Present day and walking around the streets of Dublin, O'Grady peers into a schoolyard with an interest that can only appear perverse after what's been revealed about him. He seems so removed from his crimes that he could be an actor playing the part of a pedophile ex-priest. That he agreed to appear in "Deliver Us From Evil," is an indication not just of an oversized ego, but also a complete failure to comprehend of what he has actually done. Father O'Grady walks freely today in Ireland, not even registered as a sex offender. "Deliver Us From Evil" has already prompted legal attention in Los Angeles toward Cardinal Roger Mahoney, who allowed more than 550 priests under his jurisdiction to molest children without punishment. Watching this documentary, and especially the interviews with O'Grady, is so much more disturbing than any piece of fiction could ever be. This is a real monster victimizing children, and it was allowed by a group that was claiming to do God's work.

Watchable zombie blockbuster with decent special effects, some effectively tense moments, and a solid central performance from Brad Pitt. However, it's a letdown with a strange mixture of apocalyptic/zombie material, an episodic storyline in constant motion (sometimes just to keep moving), and an emotionally blank script tagged with a PG-13 rating for the masses. The movie frequently substitutes impressive CGI shots of zombie swarms for storytelling. The rushed ending feels cheap, and fans of Brooks' source material are going to wonder what happened. Too often it feels like empty chaos in an over elaborate disaster movie.

The original "Insidious" on its own terms works well enough, but its repetitive, unimaginative sequel clearly verifies that director James Wan is overextending in the name of continuing a franchise. "Insidious: Chapter 2" isn't a total disaster, but it is a disappointment when compared to the first installment, and Wan's most recent success with "The Conjuring" (2013). Despite some clever plotting, interweaving the film's second half with events from the original, it simply lacks tension and falls short on scares. The opening prologue set almost 30 years prior, gives us a shadowy realm called the Further. In this place, the souls of the dead who refuse to accept their fate, and wander around searching for a way to reconnect with the real world. Following the prologue, events pick up right where the first movie ended. Josh (Patrick Wilson) has just rescued son Dalton (Ty Simpkins), whose spirit form had traveled away from his physical body, and is now trapped in a dimension not meant for the living. In their return to the real world, however, the same spectral presence that terrorized Josh as a child an old lady wearing a black veil in a wedding dress, has followed him back. With the present-day Elise (Lin Shaye) found strangled to death, Renai (Rose Byrne) cannot curb her intuition that husband Josh might have had something to do with it. She trusts him and doesn't believe he'd be capable of murder, but when she looks into his eyes she no longer recognizes the man she married. As forensic sends away tests on fingerprints, the Lambert family go to stay with Lorraine (Barbara Hershey), hoping the worst is behind them. What made the first film creepy and chilling is now all familiar material, and the addition of a back story infused with some artificial conflict isn't nearly enough to compensate for its lack of suspense. The storyline lacks structure leaving the movie noticeably uneven, and the plot ultimately becomes tiresome and convoluted. The ending is your typical, predictable sequel conclusion to keep the franchise going after Wan's exit. Inevitably, "Insidious 3" is only a matter of time, and it will continue to stretch a story that doesn't have much else to say.

Ominous and tense throughout, "Blue Caprice" is a slow burn that builds to an unsettling boil, leaving you with a known outcome that's hard to digest. Director Alexandre Moors crafts a deceptively eerie depiction of Lee Malvo and John Allen Muhammad, and to its credit, the movie never pretends to have the answer. Moors stunning debut captures a horrific and confining tone of the tragic three weeks in October of 2002, when ten people were assassinated in a random series of attacks spanning across Washington DC, Maryland, and Virginia. "Blue Caprice" features two fantastic performances from Isaiah Washington and Tequan Richmond portraying the Beltway Snipers, John Allen Muhammad and Lee Malvo. The movie begins on the Caribbean Island of Antigua, where life is not easy for a young Lee Malvo (Tequan Richmond), who is left to fend for himself after his mother abandons him once again. Muhammad spots Lee who appears as if he is drowning, rescues him, and becomes an adoptive father figure. Moors uses Lee Malvo as the audience’s entry point into Muhammad’s world, and John's back story comes only in pieces. However, it doesn't take much to surmise that Muhammad is trouble. Flash forward a few months, and Muhammad has successfully smuggled Malvo into the United States, returning to Washington, where they stay with John's old friend Ray (Tim Blake Nelson), and his wife Jamie (Joey Lauren Adams). When Ray introduces Malvo to his gun collection to blow off steam, both men recognize the raw talent Lee possesses. Muhammad then begins to mold Malvo into a mindless assassin, eliminating any shred morality that may still lie within. This bond between the two progressively develops into a powerful, warped father-son style relationship. As the blind loyalty grows, we learn of John's grandiose scheme to create widespread mayhem and terror, starting with random killings following no discernible pattern. Moors directorial approach is consistent throughout, using restraint and creating distance from the actual assassination scenes. For example, he presents the reactions of Malvo shooting his weapon, rather than what is happening at the other end of the gun. A victim is only seen briefly as their body falls to the ground, while the Caprice slowly glides away. Moors creates a disturbing portrait of two ruthless men in free fall, and Isaiah Washington and Tequan Richmond both do outstanding work here. Washington has the extraordinarily difficult task of methodically revealing John's inner rage, resentments, and hatred that simmers just beneath his calm exterior. He’s both ferociously charismatic as well as deeply unsettling. Even more so impressive is the performance of Tequan Richmond, who must convey emotions, or lack thereof, in a character who rarely speaks of feelings at all. It's the sense of not knowing that makes his marvelous performance so chilling. The film owes a lot to its excellent cast, as well as the cinematography, and a sharp, minimalistic screenplay by R.F.I. Porto. What makes the film so exceptional is that it doesn't attempt to recreate, and instead reconstructs the story from the inside out. This was a distorted, horrific mission carried out through manipulation and the escalation of evil. "Blue Caprice" generates an innermost sense of riding in the backseat with these two, only to leave you with introspection and muddled thoughts that linger long after the viewing.

"The Place Beyond the Pines" is a highly ambitious melodrama, delivered on an epic scale involving multiple characters that boasts an engrossing cinematic atmosphere, with an impassioned emphasis on humanistic elements. Director Derek Cianfrance has crafted a sweeping three-act story with considerable skill that follows a chronological structure where each narrative rarely intersects. It has the scope and depth of a novel, and puts its trust in the audience to have the patience. The first story, and unquestionably the strongest, is about Luke (Ryan Gosling), a stunt-bike rider who learns that he has a son by one of his ex-lovers, Romina (Eva Mendes). Ready to man up, he decides to swap his life riding the "Cage of Death" at local fairs to spend time with his new-found family. Problem is, Luke doesn't have the money. It doesn't take much for his new boss and drinking pal Robin (Ben Mendelsohn), to convince him that they are better off robbing banks, while utilizing Luke’s motorcycle skills to evade police. But soon Luke gets greedy, and a robbery goes terribly wrong. In a split second, the focus completely shifts to a seemingly mild-minded street cop named Avery Cross (Bradley Cooper), who has his own agenda and story and yet his life and Luke’s become inevitably entwined. The second story follows Avery, and the mood and tone of his narrative is distinctly different from Luke’s. However, his inner turmoil is equally compelling however for different reasons. Avery also has a son AJ (Emory Cohen), but his eventual political aspirations keep him from being a caring and attentive father. Both of these men feel guilty for their failures as fathers and sons, and they both try to correct mistakes with worse ones, setting in motion unintended consequences for the next generation. Both of these stories culminate into a 15 year fast-forward when the audience then sees how Luke and Avery’s characters have impacted their own children. What's so fascinating about the structure of the film is how the story is not about any one individual character, but collectively how these characters have either been impacted by their father, and/or how they impacted their own son. The narrative uniquely strips away identifying a main character of "Beyond the Pines." Instead, it is the father and son dynamic fleshed out that acts as the central theme to the film. Mike Patton’s beautiful score and Sean Bobbitt’s mix of claustrophobic, extended shots creates an ambience **** spectacle spanning generations, yet selecting only a handful of individuals who we get to know very well, and how their lives intersect. In regards to storytelling alone, "Beyond the Pines" is a formidable endeavor. Unfortunately, due to its ambitious, unconventional approach, it weakens the connected narrative in the third act. Nonetheless, it's impossible to deny its overall overpowering cumulative effect.

"The Iceman" is an unremarkable, yet competent biopic of its title character, Richard Kuklinski, providing only a limited insight into what made him one of the most prolific hit men in history. Claiming to have pulled off over one hundred hits to his name, Richard Kuklinski was a legendary mafia contract killer known for his intimidating stature, and his cold-hearted, nonchalant approach to his craft. "The Iceman," based on a true story, is a fairly standard biopic that is only exalted beyond mediocrity by an imposing performance from Michael Shannon. Shannon's commanding performance is clearly the centerpiece of the movie, as he effortlessly exudes a cold-hearted confidence as a genuine, psychopathic hitman. Richard Leonard "The Iceman" Kuklinski was a Polish-American contract killer who worked his way up the chain of command, eventually landing a position as a hit man for the Gambino crime family. The 6'5", 300 pound "Iceman" claimed to have murdered over 100, or possibly 250 men (his recollections varied) between 1948 and 1986. Amidst all the murderous mayhem, Kuklinski found the time to marry and have two daughters as well, while successfully keeping his job as hit man a secret from them. Set primarily in the 1970s New Jersey, the film unfolds via episodic segments, chronicling Kuklinski's early beginnings editing porn movies and the marriage to his wife Deborah (Winona Ryder), to being recruited by the Gambino family by mob boss Roy Demeo (Ray Liotta), and finally his inevitable capture and conviction. Kuklinski was an impenetrable individual, and Shannon is first-rate in a suitably complex performance. Shannon bounces back and forth between family man and maniacal murderer with a sinister ease. Kuklinski exhibits an array of methods utilized to complete the task at hand, along with his trademark, freezing his victims for months before disposing of the bodies. An unusual collection for a supporting cast does a fine job overall. Chris Evans plays Robert, or Mr. Freezy, a cold-hearted killer who drives an ice cream truck who also works for the mob. James Franco plays Marty, a prospective hit. David Schwimmer plays Josh, Roy's right-hand man, and Stephen Dorff plays Richard's estranged, imprisoned brother Joey. Shannon does his best with the limited material, and Ryder gives a good performance as Richie's oblivious wife. Regrettably, a thin, all too familiar script of standard mob stories that span over decades undermines all efforts. The movie never offers anything new that hasn't been seen before, and the finale just kind of happens without much of a buildup. Unfortunately, besides seeing just how many era-appropriate hairstyles and beards its characters can model in one movie, this telling of Richard's story seems to care more about the body count above all else.

"This Is England" sounds like your typical British film concrete, plenty of rain, and of course the misery. In actuality, this couldn't be further from the truth. In fact, the film buzzes with energy and humor, while propelled by brilliant, engaging performances. It's 1983 and 12-year-old Shaun Field (Thomas Turgoose) is an isolated lad growing up in a grim coastal town, whose father has died fighting in the Falklands war. After being persistently bullied, he finds role models when those in the local skinhead scene take him in. With his new friends, Shaun discovers a world of parties, his first love, and a sense of belonging. Here he also meets Combo (Stephen Graham), an older, racist skinhead, who was recently released from prison. As Combo's gang harasses the local ethnic minorities, Shaun is a willing passenger. But When Combo ups the ante and his propensity for violence increases, Shaun must make some difficult choices. There are two standout performances. The first is from child actor Thomas Turgoose, whose raw energy and pugnacious attitude are perfect for the character of Shaun. There's never a moment's doubt that he fully inhabits the character. Equally strong is Stephen Graham as the demented, charismatic Combo. Graham conveys both critical aspects of his character: the allure and the contempt. Combo is more than a heartless street thug, and that understanding is what makes Graham's portrayal so powerful. Meadows sentimentalism has sometimes gotten the better of his work, with tears and needlessly punishing violence, but not **** film slows down and thickens as Shaun becomes embroiled in a subculture of hate in moments, it’s a little talky, but never loses its intensity. Shaun may embody hard times and bad breaks, but Mr. Meadows refuses to let him off the hook. His script and direction are virtually flawless. The one exception is the film's ending when it needlessly nails home the point once more, but no worries. The unrelenting heart and toughness of the film makes this one terrific British drama.

"Warrior" strikingly illustrates that victory is possible in defeat, and it's not what happens during the final bout that defines Gavin O' Connor's picture, but what occurs afterwards. "Warrior" is a poignant, touching drama where familiarity with the sport isn't necessary, because ultimately it's not about what transpires in the cage. The movie presents dynamic, strained relationships and the bond of family, coupled with the challenging choices we must make throughout life. The narrative focuses on three men: estranged brothers Tom and Brendan Conlon (Tom Hardy and Joel Edgerton) and their father, Paddy (Nick Nolte). Tom, a withdrawn marine, has come home to Pittsburgh to train for a spot in "Sparta," a winner-takes-all MMA tournament held in Atlantic City. He is willing to put aside his abusive upbringing in return for his assistance in training. Paddy, a recovering alcoholic, embraces the opportunity to reconnect with his son, even though Tom makes is clear that their relationship will consist strictly as one of trainer and fighter. Meanwhile, across the state in Philadelphia, former UFC fighter and current high school teacher Brendan finds himself in need of cash in order to save his home from foreclosure. Against the wishes of Brendan's wife Tess (Jennifer Morrison), Brendan becomes involved in low-level MMA contests, and suspended by the school board once word spreads. One would need be hopelessly naïve not to recognize that this is all going to come down to a match between Tom and Brendan, with a torn father on the sidelines. The first half of the film is mostly devoted to the dramatic setup and character development, before it launches into the Atlantic City bouts that take up the majority of the second half of the film. "Warrior" offers strong performances across the board, two of which are standouts. Tom Hardy, who redefined his career with his screen-searing work in "Bronson," (2008) is simply tremendous. The word "volcanic" was often used to describe Hardy's work in "Bronson," and it applies here as well. Nick Nolte, who has received his share of accolades over a long and prosperous career, provides a terrific performance as a remorseful father who is desperate to reconnect with his sons. This real battle here is outside of the cage, involving redemption, reconciliation, and putting demons to rest. O'Connor's filming has a gritty, grainy, sensibility that is only enhanced by utilizing locations around the Pittsburgh area. Putting aside the fighting in the cage, it's the emotional tussle they must contend with that is far more daunting than any opponent in the cage. "Warrior" has the heart of a champion that keeps this film alive and pumping to the bloody end.

"Dredd" has nothing innovative to offer that is new or groundbreaking, but the fusion of familiar elements generates a smartly paced, suspenseful 90 minutes that's a vast improvement over the disastrous 1995 version starring Sylvester Stallone. It has the atmosphere of a shoot 'em up video game, and the only thing that's missing is the wireless controller. Heads splatter and bullets rip through body parts at a relentless and continuous pace. "Dredd" is superbly designed and delivered with relentless carnage from all angles, and even more so impressively utilizing 3D. The sprawling “Slo-Mo” sequences are equally impressive as well. At a time when most comic book adaptations try to be all things to all people, “Dredd” savagely entertains for those with the stomach for it, and more than satisfies its intended base audience.

A battle of awful accents coupled with slapdash cat and mouse intrigue, "Killing Season" is a thriller whose approach grows increasingly mundane, and renders itself completely forgettable. "Killing Season" is directed by Mark Steven Johnson "Ghost Rider" (2007), and the movie stars two cinematic legends, Robert De Niro and John Travolta, who star together on-screen for the first time ever. What could be an ultimate showdown of two acting titans with a storyline that closely follows "The Most Dangerous Game," unfolds into abysmal exercise of nonsense, and thoroughly disappoints given its potential. Benjamin Ford (Robert De Niro) is a former American soldier and a Bosnian war veteran who now lives in a secluded cabin hidden deep in the Rocky Mountains. Emil Kovac (John Travolta) is a former Serbian soldier from the same war, who cannot let go of a particular run in he had with Ford. Finally acting on his obsession years later, Kovac uncovers Ford's location, and decides it's time to settle the score. After finding Ford and concealing his identity and motives from him, Kovac eventually reveals his intentions while out hunting with Ford, setting the stage for a struggle for survival. Kovac hunts his most elusive prey ever, but can Ford turn the tables on his Serbian hunter and make it out alive? Quickly and to the point, the primary problem is the material, written by Evan Daugherty "Snow White and the Huntsman" (2012). The movie promises an exercise in these two soldiers stalking and hunting each other, but ultimately it is nothing more than a series of graphic torture scenes with long-winded monologues, a series of power reversals, in which one gains the upper hand, just long enough for the other to escape. These reversals eventually happens with such frequency that it becomes entirely comical and ridiculous. I was more than a little confused as to why a movie pitting Robert De Niro against John Travolta was getting such a limited release, but after watching "Killing Season," I completely understand.

The movie's overblown style (CG, 3D, and Jay-Z), chokes the very life out of any substance the story may hold. There's always something to distract the eye, but it becomes increasingly annoying and persistently rings hollow. There is a mystique about F. Scott Fitzgerald’s "The Great Gatsby" that has proved unattainable to filmmakers. Four previous attempts have fallen short of capturing the book's projections of an America succumbing to the allure of money. Chalk this up as the fifth.

The movie-making team of Simon Pegg, Nick Frost, and Edgar Wright has been one of the biggest success stories of British cinema of the past decade. With "Shaun of the Dead" (2004) and "Hot Fuzz" (2007), the trio demonstrated originality, ingenuity, and most significantly, capable of drawing a large, appreciative audience. Now they're back with the long-awaited third movie of what’s become unofficially known as the "Cornetto trilogy." Like it’s predecessors, director Edgar Wright loves paying homage to American cinema; "Shaun" pays its respects to George Romero, "Fuzz" nods its head to over the top action, buddy flicks, and "World’s End" takes a page from our classic American sci-fi films. In "The World's End," 20 years after attempting an epic pub-crawl, five childhood friends reunite when one of them becomes hell-bent on trying the drinking marathon once again. Once convinced to stage an encore by Gary King (Simon Pegg), a 40-year-old man trapped in the mindset of his mid 20's, drags his reluctant friends back to their hometown, and once again attempt to reach the fabled pub The World's End. "The World's End" plays on the notion that any time you return to your old stomping grounds, changes are inevitable. Upon returning to their small town roots—a place so boring it boasts about having the first roundabout in all of England—the crew notices that things are a little strange. As it turns out, the town residents are now blue-blooded alien robots. Pretty soon, the group of friends find they are not only fighting to recapture who they once were, but to preserve who they are. "The World’s End" follows similar thematic and structural paths as the other films in the trilogy. While it is definitely intended as a satirical spoof on one level, it also works just as well as a fully functional sci-fi story. You have elements of body snatching, invasions, and more than a few overt nods to John Carpenter’s classic "They Live" (1998), in the way the aliens integrate into their society and take over. It’s satire in such a loving fashion that it comes across as infectiously charming. If there is anything to criticize here, maybe it's that the genre is a bit more skewered and less defined than in its predecessors. However, "The World's End" does cap an unofficial trilogy, and the grievance is overly critical given the nature of the movies. Long-time fans of the trilogy will appreciate the reversal of roles, casting Pegg as the selfish screw-up, and Frost as the one who has it together. This allows Pegg to fully unleash his gift for gab, and for Frost to show off his considerable skill for physical comedy. With great gags, better fights, and fan pleasing cameos, "The World’s End" is exactly the sort of British-accented, genre-blending pleasure we’ve come to expect from its creative trio, and we can only anticipate to what the future holds.

What "You're Next" lacks in originality in regards to its premise, more than makes up for it with clever surprises, an infectious energy, and a desire to satisfy rabid horror fans, while also remaining appealing to mainstream audiences. What gives "You're Next" a clever twist is how the movie presents itself as just the opposite. The movie also possesses an entertaining sense of dark humor, invigorating a generic storyline that feels revitalized. Director Adam Wingard and Screenwriter Simon Barrett's previous collaboration "A Horrible way to Die" (2010), displayed great potential and promise. "You're Next" is unquestionably the duo's crowning achievement to date. The story begins with married couple (Barbara Crampton and Rob Moran) celebrating their 35th anniversary with their four grown children, and the children's significant others. It's been awhile since the entire family was together, and it doesn't take long for old rivalries to emerge. Crispian (AJ Bowen), is a college instructor who is currently dating Erin (Sharni Vinson). His brother Drake (Joe Swanberg), is the quintessential jerk with his wife (Margaret Laney). Their sister, Aimee (Amy Seimetz), has a pretentious filmmaker boyfriend (Ti West), who's an easy target for dinner-table mockery. The youngest sibling, Felix (Nicholas Tucci), is a screw-up with a gloomy girlfriend (Wendy Glenn). Obviously, the reunion doesn't go according to plan. Tempers flare during family dinner, but the feuding quickly comes to a halt when an unseen killer strikes a fatal blow. They now realize that the house is now surrounded by homicidal strangers wearing masks, who appear determined on leaving no survivors. Once Barrett's sharp, wicked script kicks into top gear, the cast is gruesomely eliminated to the bare essentials. The violence is visceral and bloody, but so tongue- in-cheek, it often causes a smile coupled with ripples of nervous laughter. The movie successfully blends horror with a pitch black comedy throughout, and continuously finds clever ways to subvert the typical, predictable cat and mouse games. The striking, gruesome sequences go a long way towards perpetuating the movie's increasingly forbidding vibe, though there's little doubt that "You're Next" fares best once the tables have turned. Undoubtedly, the breakout star of "You're Next" is the Australian leading lady Sharni Vinson, who comes across as equally strong and smart in a wonderful performance. Wingard and Barrett have fun with the premise with impressive results, integrating the personal relationships and family conflicts that feed into the developing terror, while having fun playing with audience expectations. The tense atmosphere accompanied with the infectious energy it exudes makes it easy to gloss over any deficiencies. "You're Next" is light on psychological and narrative complexity, but it's unquestionably a cut above the slasher norm. The movie had its world premiere at the 2011 Toronto International Film Festival.

This beautifully-handled, deeply devastating work is all about the most human issue of all: inevitably and collectively, we're all food for worms. Won an Oscar in 2013 for Best Foreign Language Film of the year.

"Side Effects" is cleverly crafted in that you believe you're watching one type of film, when it's actually about something else altogether. "Side Effects" begins as if it were a modern-day problem movie, but then transforms itself. The twists are many, and ever-changing landscape of the film alters the path it takes on its road to resolution. "Side Effects" is really a sleekly constructed noir using the pharmaceutical industry as the backdrop. Taylor (Rooney Mara) is a 28-year-old graphic designer who looks somewhat adrift in her Manhattan apartment. She is awaiting the return of her husband Martin (Channing Tatum), sentenced to prison four years before for insider trading. The film starts up just before his release, a day she's eagerly awaiting. Once he's out, though, she seems unable to control her depression. Taken to the hospital, she's examined by a psychiatrist, Dr. Jonathan Banks (Jude Law). He's concerned about her suicidal tendencies, but takes Emily's word that she'll start coming in for therapy and continue taking her medications, so he lets her go. Her psychiatrist Dr. Banks, after conferring with her old doctor, Dr. Victoria Siebert (Catherine Zeta-Jones), eventually prescribes her an experimental new medication he's consulting on, Ablixa. At first, "Side Effects" appears solely as Emily's story--following her through the withering exhaustion of adjusting medications, and dealing with the increasingly horrendous conditions they cause. And then, just as you have resigned to "Side Effects" as a blitz against our society's willingness to seek personal solutions in pills, the narrative veers sideways--and you never really see it coming. From there on, it's a game of shifting narratives and re-examined assumptions that contains more than a couple of decoys. The movie is content to keep viewers engaged by changing our perceptions of events and characters as the plot unfolds. This is what makes this film such a marvel and so difficult to discuss, but unquestionably worth the watch.

To his credit, Roland Emmerich's "White House Down" knows just how completely ludicrous this storyline is, but fully embraces it, and has a lot fun riding it out to its utterly implausible end. Apparently, audiences are very hungry for action concerning terrorist attempts to take over the White House. This storyline is remarkably similar to that of "Olympus Has Fallen," from three months ago, but there are some fundamental differences. "White House Down" employs plenty of humor, which allows the viewer to just enjoy the viewing experience. There are many casualties in "WHD", but there is hardly any bloodshed. In contrast "Olympus," decided to include graphic violence, making it a challenge to just have fun in nothing more than a brainless blockbuster. John Cale (Channing Tatum) is an US Capitol police officer that has struggled to hold a steady job and being a good father to his daughter, Emily (Joey King). She is passionate about politics and with the current US president, James Sawyer (Jamie Foxx). Cale takes Emily to the White House when he applies for a spot on the President's Secret Service, but he is does not get job. Dejected, John and his daughter join a tour through the White House at the same time domestic terrorists take over both the Capitol and the White House. The terrorists gather the tour group as hostages, while simultaneously trapping the president inside the building. With the actual Secret Service incapacitated, it befalls upon John Cale to rescue the president from these villains trying to destroy the American way, and their motives are the usual, standard terrorist demands (money, revenge, etc). Despite the dramatic and grave tone of the trailer, "White House Down" has about as much fun with the disastrous scenario as respectably possible. There are laughs mostly cheesy, throughout the entire film, never letting the viewer forget they are here to have a good time. However, its impossible to ignore its glaring faults. You have never seen a more unconvincing president depicted on-screen. While its amusing to show the President wearing Jordan's while shooting a rocket launcher out a car window, any shred of legitimacy left evaporates in name of some laughs. Channing Tatum is respectable as the hero figure, but stiffens up at times in some scenes that require some dramatic finesse. When comparing the two films with similar plots, separated by only three months at the box office, "White House Down" is the better summer, blockbuster watch when compared to "Olympus has Fallen" simply because the latter was just that bad.

"Mud," the third feature from writer and director Jeff Nichols, is a remarkably accomplished piece of storytelling. From his promising, impressive film début, "Shotgun Stories," (2007) to the fascinating "Take Shelter," (2011) both showcases for Michael Shannon, who also has a key-supporting role in this film. Nichols has taken another step forward with his latest, which draws on Mark Twain's "Huckleberry Finn" as a rough model for Ellis's story. The film presents an impressive narrative construction and compelling characters with dynamic performances. Two boys, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland), speed out on their boat to a nearby spit of land to check out the unusual sight of a boat ensnared in a treetop, when they encounter an inhabitant. Mud (Matthew McConaughey), declares that he's waiting around for an arranged date with girlfriend Juniper (Reese Witherspoon). So he promptly enlists the help of the boys, who are in need of an adventurous break from their own humdrum lives. The boys have plenty of questions about his origins, but Mud doesn't reveal much. Mud is from around these parts, but fearful, it seems, of straying too close to the people and places of his youth. At its heart, "Mud" is a story of the strength of familial bonds, of relationships destroyed by our tragically human, ineradicable flaws, and a coming-of-age film that defines us all. "Mud" deals in simple heartfelt emotions, and in a genuinely moving fashion. Nichols' approach to filmmaking also provides an additional palpable emotional element to the earnest storyline. "Mud" doesn't end up being a perfect film, with a runtime that feels a bit long, and its ending is a little weak. That's not to say it isn't fitting, but it just doesn't feel as satisfying as the rest of the film. Always bringing out the best in his cast, Nichols solidifies his status as one of the best indie filmmakers of today. "Mud" delivers astounding performances while wrapping up the perfect blend of dramatic weight and fairy tale happiness. When the story gets going, and the moralities of characters' actions come into play, and there's no way to avoid being captivated by its southern hospitality.