“Totally Boring. You’re just sittin’ there, waitin for some suspense or shocking moments, but nothing comes around. And then, behind all those boring scenes, they are full of fails. Can someone tell how did they get the footage to earth, when they never went back to the moon?” – Fincky

“An absolute atrocity of M. Night Shyamalan-esque plot devices and empty, meaningless narrative methods. The stacked cast of Daniel Craig, Naomi Watts, and Rachel Weisz are completely wasted and led to give one-sided, static emotional performances reminiscent of what you might see in a cheesy, soap-opera mystery. The movie twists and twists until all of its potential complexities and themes are unwoven into a showing of simple, antiquated, and predictable suspense-less fluff.” – HiResDes

“Holy shit, please kill me now. Not only are almost all the characters unlikable, but they are just terrible people. Even the one likable character who I will call Jim Halpert because that is the role he plays in everything (type cast much) was a terrible person. On second thought, don’t kill me, I’m already on it.” – CMonster

“Two hot women falling for a fat guy just because he is nice. That’s more unbelievable then animals talking.” – dst7175

“Ugh, this movie is so painfully shitty that you’d have spent your time better if you scraped the muscles off your legs. And why is it that every time I see Alex Pettyfer in a movie my dislike for him grows just a little more?” – Baby Fish

“at some point, enough people with more than enough money thought THIS was a good idea. and that bothers me about this world…” – guy piranha

“A Gothic fairytale created by a team of middle managers, this is nothing more that a checklist of features needed to sell tickets to the Twilight demographic. A nameless medieval European village full of beautiful all-American teens with flawless makeup (including the boys), the worst dance party since The Matrix Reloaded, buckets of teen angst, terrible acting, woeful CGI and an ending so bad it makes the previous 80 minutes of mediocrity seem like high art. Utterly soulless.” – misterlizard

“So… how many movies does Nicholas Cage have to make before the IRS leaves him alone and he can finally go back to making decent movies instead of this crap…” – DaeSanye

“Another film for philistines, The Roommate is an asinine rendition of Single White Female-level cliches of psycho friend “horror” whose banality and dopiness constitutes an assault on film culture that’s formed out of filmmakers like Christian E. Christiansen pandering to the lowest common denominator. Cinematic portrayals of psychopathy have rarely been so inane but never has stupidity and superficiality been so broadly held up as virtuous — not even by Cameron Crowe!” – tomelce

“‘I walk around like everybody else but inside I just feel like I’m a stranger in my own life.’ Man, am I glad this dialog was improvised and no-one actually wrote this script. Am I right guys? … Guys?” – calharding

“In an era when so-called “British comedy(?)” and CGI schlockfests are popular, it is remarkably refreshing to see such an intelligent espionage film do so well. The phenomenal performances (Oldman turns in what could possibly be his best straight acting role to date) and the gripping, suspenseful story are undoubtedly the films strong points, as well as how beautiful it looks, but there is quite a lot to take in at a fast rate and it can be difficult to keep up at times. One of this years best.” – RapeyVessey

“I was legitimately surprised at how good this was. It wasn’t a black comedy or a dramedy, but something that felt altogether different. Like a comedy and a drama woven together but the strands don’t really touch, leaving the other to do its thing, which each does really well. I can’t picture a cancer movie being able to do it better. JGL is great. Kendrick was pretty good. The real surprise was Seth Rogen. To be honest, if I have cancer, I want Rogen’s character to be my friend.” – CMonster

“A strong and assured work. It’s tempting to call it an instant classic, Fassbender’s character likely to etch itself into your memory for a long time.” – KasperL

“Fincher hasn’t made something this unsettling since Seven. It’s awesome. Also, say what you will about the rest of the movie, but that opening credits sequence is a fucking trip.” – nateb

“It may be a detour for Scorsese, but it’s also, surprisingly, the most autobiographical film he’s ever made, and one of his most heartfelt as a result. Its moderate flaws (primarily structural) are easy to forgive because it’s never less than charming or entertaining, and for any film geek out there, very touching as well. And the film’s evocation of 1930s Paris is absolutely fantastic.” – Criminal5

“Forget the fact that this is a silent film done in black and white. As risky as that is, balancing the tone of a film that’s a throwback to the 1920′s era of silent film while still feeling fresh and modern is what’s really impressive. As most modern film and television, ‘The Artist’ is self-aware, but it never crosses into a cliche or pretentious territory. It always feels natural within the story. Watching it with a crowd is a must to complete the feeling of a by-gone era. Extremely well done.” – canadianor

“Akin to Soderberg’s The Limey, Drive is more of a visceral reflection, than the heist-movie the trailer and plot suggest, but that said, it offers both suspenseful chases and some of the most graphic violence this side of Irréversible. All-in-all: a pulp-story, that with few modifications could have been a random Jason Statham actioner, is given a gritty art-house overhaul by the constantly evolving talent of Nicolas Winding Refn and the brilliant cast.” – FrederikA

“Great and engaging from start to finish. It left me thinking about the film for a few days after as it has a particular mood and atmosphere that’s not quite horror, but disturbing never the less.” – MrGreedy

“It really is astounding how like a film Senna’s life was – so of course, this is a gripping documentary. However, it’s also incredibly moving – I cried at the ending – and brilliantly edited.” – MinuteMaker

“One might teeter on the feeling that there’s just too much going on in Farhadi’s coming-of-age/class warfare/kitchen sink drama, but the director handles it all so deftly and with such respect for his characters that the film ends up enriched by its various dramas instead of bogged down in them.” – graveyardtan

“If Oliver Stone moved to Wales and remade Rushmore, he might make something like Submarine. I detest quirk for quirk’s sake, but every surreal embellishment in Submarine exists for a reason, as it tackles the messy sides of being a 15-year-old boy. Fantastic!” – KeanuGrieves

“CC first presents the idea that it is not the object itself but the observer’s perception of it which produces meaning (duh), then cunningly embodies that idea (audience’s interpretations of the actors’ relationship swing wildly from scene to scene), and then finally — in James — exposes the cold, rational solipsism at the heart of that idea, taken to its extreme. An unbelievably slippery film, with camerawork that at once both subtly and strikingly assists the exploration of its themes.” – theficionado

“Intelligent, well-crafted, and deeply affecting, with Brad Pitt giving us one of the best performances of the year (and Hill giving comic relief as the worthy sidekick). Truly, the best films about sports are those that don’t focus too much on the game but on the people behind it. Wisely sidestepping sentimentality, Miller gives us a highly entertaining baseball film that is also about daring to revolutionize and challenge the norms.” – RaymundLi

“This movie is pure magic. It’s engrossing and captivating in such a beautiful Woody Allen type of way. Some great performances and fantastic cinematography, too.” – guscuddy

“A great companion piece to Figgis’ “Leaving Las Vegas”, with on one hand a victim of alcohol and rage and one of oppression and physical abuse on the other, though unlike the aforementioned, although momentarily presented, their bond is marked by friendship rather than love. Despite their differences, compassion is shared mutually; Considdine approaches this unlikely bond with care and subtle aplomb.” – fredericg54

“This film is insanely predictable and very cheesy. And I loved every minute of it. The acting is great – Hardy is nearing the top of my personal favorites. The fighting scenes are probably the best ever and I was heavily emotionally invested in all of Brendan’s fights.” – Ross

“Dark and depressing as all hell. Visually rich while being stylistically unnerving. Swinton gives perhaps the best performance I’ve ever seen from her, with Ezra Miller going toe-to-toe with her in many scenes and doing a fine job as such a contemptuous little shit. Thematically it brings up a lot of interesting questions and doesn’t try and answer them, causing you to – as Eva does – piece through the memories and try to understand Kevin without really knowing for sure why he did what he did.” – bown

“Frankenstein according to Almodóvar? The Spanish excentric’s most intriguing work since ‘Hable con ella’ – and Banderas’ best part since… well, ever?” – Langelund

“If modern filmmaking is the art of compromise, someone obviously forgot to tell Terrence Malick. Not satisfied with merely tackling love, war and similar hefty themes, Malick this time goes for life itself with an elliptically, associative and lyrically rather than causally told story about people and the ties between them. It’s not so much about the O’Brien family specifically as it’s about the idea of family and individual. “The Tree of Life” is equally ambitious and visually breathtaking.” – KMcNeil

“Wow, no way, really, no goddam way I expected such an entertainment like this one, and it turns out that it completely delivers with an enormous package of in-jokes and gags. Best family movie of the year, no doubt of that.” – felipelham