[…]"The script — by Mark Boal, who also wrote “Zero Dark Thirty” — is redundant, repeating the motif about war being a drug over and over again until it loses all potency. Then there are the action beats, which feel like some cross between stuff Bigelow did better before and stuff Peter Berg did better in “The Kingdom.”[…] That was a wonderful moment in Oscars history. If only “The Hurt Locker” were able to match its power."

"[…]Kechiche’s Palme d’Or winner does a lot of things right, but not nearly as much as it does wrong, including its inability to portray and obsess over women in a sickening and sexualized manner. […] nearly every moment of the 179-minute film is drenched in a distasteful lust for the film’s protagonist. […] If you disagree, just count how many ass shots there are. You’ll run out of fingers, and you’ll also run out of patience for this (unfortunately) distracted movie."[…]

"“Gravity” was visually stunning and it uncannily captured the vacuum of sound that is space, but it was also boring and felt long, despite being only 91 minutes. Listening to everyone rave about it beyond the score and visual effects was like overhearing an inside joke that only well-respected movie critics were really in on. And that scene where Sandra Bullock jet-packs to another space station using mostly just a fire extinguisher? Crap"

"[…] It’s all action and no substance, unless you like faux-spiritualism psychobabble and blatant metaphors about the simulation of reality. Because, gosh, we are just such a troubled society, so let’s use a seething Keanu Reeves and a smug Laurence Fishburne to prove it. “The Matrix” has the deadly combination of being both confusing and juvenile, and were it not for the Wachowskis’ impressive visual effects, everyone would have just taken the blue pill and shut up about it."

"[…] I’d actually have to believe either of their characters were in love with the other to begin with for the movie to be watchable. […] it doesn’t explain why they fell so hopelessly for each other, nor does it give a satisfying explanation of how things fell apart in such a rapid fashion. On top of that, the characters are just unlikeable people with whom I had no vested interest, leaving me to spend the majority of the film’s 112 minutes wanting to scream, “Will you just break up already?”[…]"

"[…]The scene where she [Shailene Woodley] swims underwater while crying functions as the only worthwhile moment in the entire film. The rest of it is a mishmash of Hawaiian shirts, Beau Bridges, random bouts of George Clooney running and […] playing a meek version of George Clooney. What’s meant to be an honest portrayal of loss, and the struggle a dad faces in connecting with his daughters, ends up putting you straight to sleep, even if you had every intention of crying."

"[…] “Drive” is really one big, awkward staring contest between Ryan Gosling and every other character […] Gosling has less dialogue than Mr. Bean playing an introverted mime with bronchitis. Director Nicolas Winding Refn spends all 100 minutes trying to convince you that he has a cool iPod playlist. […] Even that [the scorpion jacket], however, is not enough to make you avoid wishing you had spent your evening doing something more enjoyable, like driving off a cliff."

'“Avatar” was cool for a second, like before it hit theaters when all the buzz was about how much time and money James Cameron spent on it. But then it came out, and it was just a bunch of blue people running around with super expensive special effects in the background. Seriously, that’s all we can remember without looking at Wikipedia. Sure, “Avatar” was great fodder for Halloween costumes and stoned teenagers, but did it deserve to gross more than $2 billion and earn nine Oscar nominations? Nah. […]"

"I disagree with ALL these reviews and I don't think any of these movies is overrated"