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Feels very much like other martial arts films of its timeframe of production (Ong Bak, The Protector) comes to mind in terms of balancing story and fight sequences. Not as predictable as the two aforementioned but most certainly not as groundbreaking as the first Raid film, primarily because of its imitiation to it.

[SPOILER ALERT: This review contains spoilers.]

The story reveals it to be an epic romantic in its run time, and the performances are ballsy as well as being very vulnerable, ending in the only way it possibly could. A very emotionally fulfilling film.

Best editing in a film adaptation you will see this side of the decade. The film runs at an arduous pace, yet that is welcomed by the audience due to its gripping story. Rooney Mara is strong, rugged, yet very human as Salander.

The cinematography is so beautiful, you just wish that the plot went deeper into the questions about life it raises. The storytelling's simplicity does not mirror the visuals' ambiguity.

Better than literalists give it, worse than the devouts give it credit for, Prometheus is not without it flaws in plot and not without it's triumphs in cinematography and strong acting from Noomi Rapace and Michael Fassbender, and due to the ending, lends promise to an adequate follow-up.

Nolan's infamous protagonist played eloquently by Guy Pierce as well as the ordering remains to be the most memorably to Memento. These two aspects, as well as the plot being enticing enough to the viewer, carry the rest of the film into 'great' territory. Still a must-see either way.

The buildup throughout the plot, the strong acting to the point that one can imagine countless spin-off stories with each character, execution of dream sequences and references back to itself, Inception is simply put the quintessential puzzling summer blockbuster archetype. Nolan will not co-write and direct something more perfect.

The viewer is allowed to question and ponder throughout The Prestige, but Nolan doesn't undermine the audience when he gives them the oppourtunity to know the answer from the beginning. A perfect equilibrium in mystery storytelling. The acting may not be at its best, but it is saved by the charm and faults of both lead roles and Michael Caine takes the torch of guide and accomplice with undaunted and unstated pride. If it were not for a vapid 'Love B' story, this film could be argued to be the best of 2006. This is and will be Nolan's 'grows on you' film.

Following suit to Irreversible, the main study remains but with more formalist experimentations and metaphysical voyeurism. Only weaker than it's predecessor due to its lack of connectivity made with the protagonist and the viewer, replacing the protagonist *with* the viewer. This is seemingly the point, but at the same token can be an alienating experience for the viewer.

A thesis that remains snappy as his filmography grows, Irreversible is seemingly an intentional film on the atrocities the human race can make and do to one another. Its ordering is its strongest point as it gives an entirely different viewer response. Your jaw will plummet to the floor at the turn of the end credits.

Harry Potter in dystopian times; saddening because YA novel-to-film adaptations in hollywood are now becoming an oversaturated market. It holds to be an adequate film on strong aesthetics as well as good (not her best) acting from Shailene Woodley and the secondary characters. It falters from blatant plot holes, a rushed and forced ending, as well as poor acting from the antagonist (yes, Kate Winslet's role is very superficial, and lacks any form of depth whatsoever). Already signed on to another sequel, here's to hoping that this series contains a learning curve structure. Insurgent now has high expectations.

This is the best 'Wes Anderson film' to date, but not Wes Anderson's best film to date. It's large cast ensemble, sporadic punchlines and use of enframing lend itself to be very entertaining and tightly crafted from beginning to end, but also lend itself to be much of the same. Nevertheless, if you're a fan of Wes Anderson's catalog - or a casual moviegoer - this is certainly another work that should be enjoyed by all.

A engrossing thriller on how deep and endless our minds truly are. As Villeneuve put it bluntly, if you like the sound of "A look into Jake Gyllenhaal's Subconscious", you should check Enemy out.

How can you not give this film universal acclaim when it is able to get laughs, emotional connections, in a well-written story for all ages? The casting is massive and yet everyone works together at an even level. This is a highly enjoyable film from beginning to end, and recommended for anyone in 2014