We’ve seen millions of ways directors can make something scary, but when is the last time we’ve seen a Ramekin dish possessing and making someone’s life hell? Seriously, have we ever seen a ramekin used like this? Ramekin is the kind of film that’ll instantly make you want to throw
THE FORCE AWAKENS ushers in a new era of STAR WARS with a lot riding on it’s shoulders. Maybe even too much.
While gorgeous to look at and hilarious at times, THE GOOD DINOSAUR lacks emotional depth and is essentially a retread of ‘Finding Nemo’.
THE HUNGER GAMES: MOCKINGJAY PART 2: Ends the series with an unsatisfying whimper, the result of poor, underdeveloped artistic choices.
LOVE THE COOPERS: A way too soon, holiday-centered comedy-drama with nothing that the talismanic invocation of the word “family” can’t fix.
SPOTLIGHT: A reminder of how journalism can shed light on hidden, uncomfortable truths and help force social, cultural and political change.
STEVE JOBS delivers on almost every front, but can’t escape the shadow of ‘The Social Network’.
THE LAST WITCH HUNTER: Does little with its few good ideas and everything with its derivative, unoriginal ones.
PARANORMAL ACTIVITY: THE GHOST DIMENSION: One last, desperate attempt to separate unsuspecting moviegoers from their wallets.
CRIMSON PEAK’s plot fails to match up to Guillermo del Toro’s stunning visuals in this gothic romance.
BRIDGE OF SPIES: Beautifully shot, expertly acted, and slyly written (at times)—a worthy film and a must see for history buffs.
THE MARTIAN: A taut, tense thriller with practically everything moviegoers could possibly want from a 21st century “Robinson Crusoe on Mars.”
SICARIO is one of the year’s grittiest — and best — films.
THE WALK: Watching Philippe Petit’s 1974 high-wire walk across New York’s Twin Towers in 3D is unbelievable. The rest? Not so much.