Like another Tribeca hit given a quiet release, last year's "Puncture," Any Day Now feels the need to take its compelling true story and stack the deck in favor of what we know is the outcome, presenting all obstacles as engineered by sneering, callous villains with disdain for those who would trumpet a more progressive cause.

It’s not like “The Artist” was gritty, but Populaire is so cotton-candy breezy it makes the Best Picture-winner look like “The Panic in Needle Park.”

The film's not merely content with being a twisty psycho-thriller. Boyle and Hodge expertly tweak and tinker with your sympathies, and the characters you initially peg as heroes and villains may not be in the same place by the time things wrap up.

Forever doesn't deviate terribly from the can-we-be-friends-after-sex playbook, but it rarely opts for hysterics or contrivance to push our leads along, so long as you can swallow the amicability with which they initially divorce.

Playing with genre is fine, but if you're going to create new rules, you have to play by them too, but unfortunately Warm Bodies continually subverts its own internal logic and basic, believable character motivation to keep pushing the movie along.

Dredd is a video game procedural tied to great visuals, but one without deeper substance to make its experience remotely meaningful.

Apatow indulges in his freeform tendencies to a particularly destructive degree with This is 40, resulting in a movie in which the ambitions are only equaled by the shortcomings.

While it hardly reinvents the genre, it’s smart, sharp entertainment that meets expectations dead on, and provides a nifty little story told with just enough spark to make the familiar feel fresh.

A beautiful, hearfelt and raw piece of work.

Everything matters in Cronenberg's Cosmopolis, but not everything is necessarily the same as DeLillo's book. And that makes the film, as a series of discussions about inter-related money-minded contradictions, insanely rich and maddeningly complex. We can't wait to rewatch it.

The risible Stoker is a brutally empty, deeply unfortunate movie, and Park Chan-wook's jackhammer of a tool he calls a brush is, on this evidence, something that should be locked away.

Lacking narrative momentum, saddled with thin characterizations and uninspired plotting, Trouble With The Curve should've stayed on the bench.

Gayby isn't groundbreaking, but it's a fun romp whose characters grow on you after spending some time with them.

It may very well be the best action movie of the year.

I Give It a Year groans on, with unmemorable scene after unmemorable scene, each one more contingent on coincidence and happenstance than by the actual, gear-filled mechanics of drama or comedy.

Mia Wasikowska and Jessica Chastain both shine as the love interests for Jack and Forrest respectively, allowing those characters to have something beyond their business to be fighting for, with the skill of both performers allowing them to be more than just window dressing.

Each scene is a brisk vignette of deadpan reversal, often involving a running theme of miscommunication.

As every sub plot, reveal and character… err, caricature that is, gets stacked on top of each other, the more inevitable it is that the whole thing will come tumbling down. And while Love is All You Need is by no means a disaster, it simply can’t support all that weight.

As epic, grandiose, and emotionally appealing as the previous pictures, The Hobbit doesn't stray far from the mold, but it's a thrilling ride that's one of the most enjoyable, exciting and engaging tentpoles of the year.

The Lords of Salem is a product of Zombie’s better creative impulses, so it’s ok that it also features several of his worse indulgences, too.

The film's got one of the cleverest, and most satisfying ambiguous endings of any film all year.

It's a very competent black comedy, one that should please audiences looking for something with some bite.

The meat of the film is sadly, a tedious misstep for a director who, even when he's experimented in the past, has generally come up with something more interesting than this. It is, however, still better than "9 Songs"

A gloriously decadent, gorgeously photographed melodrama – a movie where people burst into tears and act very badly towards each other, all while wearing really fabulous clothes.

Featuring truly shocking levels of violence but none of the wit or fun of the original, the new Evil Dead is mostly a dud.

An outlandish fantasy that surrenders to overheated melodrama, but nonetheless titillates the eyes like a grand feast.

Silly, distracting, and undeniably entertaining.

Made with a chip on its shoulder and a generational insight that would put most Oscar bait to shame, this completely daft film deserves to be seen by anyone who remotely supports the potential of the horror genre, to frighten, to disgust and to anger.