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Man vs. beast, man vs. man, man vs. corporation, man vs. himself — The Hunter takes all these pretty ladies out for a spin, but can’t seem to decide which one to bring home.

The 10 years that we are told at the beginning of Wrath of the Titans have passed since Perseus (Sam Worthington) defeated the Kraken may not seem like long enough, especially when you consider that it’s only been two since the Clash of the Titans remake was released

Detachment, the first feature from American History X director Tony Kaye to see theaters since his stunning 2006 documentary Lake of Fire, is a film about a high school substitute teacher that often comes across like the creation of a precocious student.

In The Vow, Rachel McAdams plays Paige, a Chicago sculptor who's wife to Leo (Channing Tatum), the owner of a recording studio. The two are talking about starting a family, clearly giddily in love, when they get into a car accident that results in Paige taking a slow-motion header through the windshield.

As a general rule in the movies, dysfunction is better offered as a side dish rather than a main course, accenting what’s really a story of grieving and letting go, or coming of age, or self-acceptance.

Alfred Hitchcock and Cecil B. DeMille might have been able to successfully redo their own movies, but more recent auto-remakes, especially ones that find directors cranking out a U.S. version of their own foreign-language hit, have been a motley crew.

No one comes out looking good in The Debt, a grim thriller from director John Madden: Not the Nazi purveyor of concentration camp atrocities, which is a given, but not the trio of young, dedicated Mossad agents sent to bring him to justice after the war either.

In 1997, shocking news reaches retired Mossad secret agents Rachel and Stefan about their former colleague David.

Graham Greene’s 1938 masterpiece Brighton Rock is an enduring curio of fiction: A literary pulp novel ahead of its time, a gangland allegory of sin and the cost of redemption, and perhaps most fascinating, a pre-WWII oracle anticipating the traumatic British century to come.