Though lacking a consistent pulse, O'Horten manages to provide a complicated theme using simple techniques, and in doing so, it effectively connects with its audience.

SPOILER ALERT
why to see this movie: Sarah Polley uses her egg to create a female monster baby that Brody sleeps with. The baby then turns into a boy and rapes Polley (his/her/its mother)....
Why not to see this movie: see above explanation

Missing the mark in almost all areas, Chloe never creates the paranoia, lust, or agitation it should have.

Despite delivering less than Polanski's previous tales of psychosis and mystery, Ghost Writer boasts a strong cast and tense atmosphere that creates a powerful and appreciated thriller.

A refreshing spectacle, Oceans reminds us that we don't need to escape to blockbusters or reboots to be entertained and awed. Disney succeeds at capturing some unbelievable images while infusing character into its creatures.

While its special effects and cast carry it throughout, one can't help but notice the lackluster direction and often poor screenwriting.

The first act starts off well, tactfully introducing its characters and putting us into the atmosphere of where its predecessor ended. All is well until Ivan's attack on Tony Stark is interrupted by John Favreau continually driving his car into the enemy. From this moment on, discretion and intelligence is thrown out the window. Iron Man gets drunk. Girls Scream. He shoots things. It made me remember when all of a sudden Peter Parker started acting like an asshole. The script tries to be more of a comedy than anything else, in my opinion, its biggest fault.

The cast from the first one still delivers strongly. Mickey Rourke is great at Whiplash, I only wish he had more destructive screen time. Black Widow is pulled off, surprisingly, although if they wanted her to be taken a bit more seriously, they miscast. War Machine is the best new addition - bold and deadly. Then you have Sam Rockwell and Samuel L. Jackson. Rockwell could have been great, but his lines and direction were so misguided, they turned his character, and in turn most of the movie, into an uneven joke. There is nothing serious or interesting about Nick Fury in this movie, which is highly disappointing.

Tony Stark's all is lost moment becomes far too melodramatic and over the top. What I felt was one of the weakest parts in the first film, the final battle, once again falls short and fails to deliver. While the special effects in this one were some of the best I've seen, I still wanted more.

In the end, I expected most of this, but I was surprised with how much of a joke it made of itself. Entertaining, Yes. Good, Not Really. There is a way to combine the two...

Unrelenting and tense, The Crazies delivers on its name. Though it's not the best of the genre - on the nose dialogue (usually pertaining to how much Olyfant cherishes his wife despite the fact that he leaves her every time they encounter a new, dangerous place) and an unsatisfying ending - it proves to be very entertaining. The cast is strong, and if you get into it, you'll generally feel that they do make intelligent decisions. The result is a well-shot and executed horror story that is a step-up from recent remakes and stale ideas.

Deep, dark, and humorous, the brothers hit their mark again. Larry Gopnik (Stuhlbarg) faces the seemingly random breakdowns of his 1960's suburban life. The descent, though effectively frustrating, is filled with dark humor. As usual, the characters are developed with the tact and detail needed to create unique and engrossing displays, which play perfectly in the film's mise en scene. A Serious Man tackles challenging messages and uses both its cinematographic elements and a reference to Heisenberg's Uncertainty Principle to do so in a fascinating matter. Contemplate how you desire, but be sure to take full advantage of the poetic ending.

While certainly infusing ambiguity with an interesting and unsettling premise, The Box struggles to stand on its own, calling to our attention that Kelly's imaginative world has perhaps expanded too far. The memorable Donnie Darko tackled complex themes and ideas, but centered its story on its protagonist and the small town in which he lives. The subject matter in Kelly's subsequent films has not simplified, but the stage in which it is expressed has lost that "Darko" foundation. Southland Tales was set in an unsure futuristic/alternate world...we think. The Box begins with a simple family, but then opens its doors to NASA, Mars, and many more strange people. When the latter of these are exploited, the film works best, providing creepy moments that are beautifully shot and provoke the viewer to ask more questions and remain seated. Despite the dialogue that sometimes just falls flat and the villain's origin story or lack there of, The Box is a stylish thriller that makes an attempt. It shouldn't be rewarded for that, but it causes the audience to think and wonder, would you push the button? In the end, it's not regrettable and it sticks after you leave the theater, but then again, Kelly hasn't mastered his potential yet.

An intelligent scare that shocks and entertains in the least expected ways. The humor between the characters is enough to carry the viewer through its first half, while the horror and chilling suspense are sure to deliver in the latter. The documentary feel is soundly executed and the pacing is clearly well-conceived. Despite its hype, it is one of the most refreshing and resonating horror films of the past few years.