Probably one of the most boring and unoriginal thrillers we’ve seen in years, The Purge makes you want to do exactly just that. A supposed morality piece about the state of violence in America, everything about this thriller rings false. From Ethan Hawke’s semi-heroic turn as a steadfast family man who will do anything to protect his wife and kids to a truly ridiculous premise, the film is unredeemable.

Who would have thought that the director of torture porn gore fest Saw could come up with something so subdued and old-fashioned? (Scary we're not surprised by.) James Wan has immaculately drawn from classic scare flicks The Changeling, The Exorcist, Poltergeist, The Amityville Horror and The Birds for a potent tale of evil spirits and demonic possessions built on mood and dread for what is, arguably, the most terrifying horror film of the last decade (and perhaps one ups some of these originals). Even the title gives us the creeps.

The last part of a trilogy of political-themed films by emerging director Pablo Larrain, NO charts Chile’s unprecedented rise to democracy after it managed to overthrow the country’s military dictator Augusto Pinochet. It's based on the true story and unpublished play The Referendum by Antonio Skarmeta. Shot purely with analog video cameras from the ‘80s, the film seamlessly merges found footage with Lorrain’s effective documentary-style, which lends its mise en scenes a natural, gritty edge.

The latest Superman film is shockingly dated. Despite the many technological advances made in the FX department (surely, this is one of the best-looking and realistic in the series) and the shakiest camerawork we’ve seen in a superhero movie (The Blair Witch Project or Cloverfield, anyone?), there is not much new here. What made the older films so charming, especially the ‘70s and ‘80s originals, were their believable lo-fi aesthetics (groundbreaking then) and Christopher Reeves, who had the acting smarts to make his Clark Kent memorable.

From Batman to Indiana Jones, the film industry has no shortage of enduring macho icons. But the James Bond franchise, with its (nearly) bi-annual returns, catchphrases and highly anticipated opening gambits, is more than an icon—it’s a year-end ritual that’s lasted for half a century. Bond films are also a celebration of a certain lifestyle; they are Esquire (or GQ) magazine made film: suits are perfectly tailored, cars are impeccably polished, drinks are ordered with a connoisseur’s flair. If 50th anniversaries and Tom Ford tuxedos don’t particularly move you, what’s left though?

It’s rare that a trip to the cinema proves to be anything but predictable these days, so surely another outing with Po would involve jokes about gluttony, being unfit and a geeky love of martial arts, right? Well, yes, but what you don’t see in the trailer is this film’s tremendous heart.

That time of year has arrived once more, but as Potter fans fill theaters (too many dressed in makeshift Hogwarts robes), it is with a mix of anticipation and dread. It’s fitting then that Deathly Hallows Part 1 captures the desire and despair that comes with seeing a much-loved franchise concluded.

Tim Conrad (Paul Rudd) is a financial analyst who eyes a promotion to afford all the things he wants in his life: A fast car, a fancy apartment and a happy life together with his girlfriend Julie (Stephanie Szostak). After nailing a presentation, Tim impresses his boss, who is keen to promote him providing he attends a dinner party with a twist—all guests at the party must bring an eccentrically talented “idiot” to provide entertainment. Driving down a street while using his cell phone, Tim knocks down Barry (Steve Carell).

Picking up from 2007’s Resident Evil: Extinction, this fourth installment of Paul W.S. Anderson’s shoot ‘em up kicks into high gear with its 3D action sequences and sees Alice (Milla Jovovich) continuing her rampage of revenge on the evil Umbrella Corporation.