The RavenThere are moments in director James McTeigue's The Raven — his attempt to enlist Edgar Allan Poe as a detective in 19th-century Baltimore to help police solve a string of murders in which the crime scenes pay homage to Poe's stories — where the whole production comes undone. The movie takes advantage of the mysterious circumstances of Poe's real-life final days by bizarrely cobbling together a narrative that places him right in the public's eye, in plain sight, and in print. Following the discovery of two murdered women positioned to replicate The Murders in the Rue Morgue, the broke, alcoholic, and newly engaged Poe (played by John Cusack with zero regard for believability or style) offers almost no insight into his own inspiration, footnotes, or research. He's passive, in over his head, and practically unhelpful. When his fiancée goes missing, he simply opts to repeatedly shout her name in an underground sewer. The Raven resists adventure at every turn. It feels rushed, poorly structured, and determined to disappoint. And in that quest, it succeeds. (Justin Strout) Rated R.
Bully (PG-13) — This straight-from-the-headlines look at bullying in U.S. schools will either make you bounce around options for surgical sterility or rage against the politically correct culture that's taken hold in public schools, a why-can't-everyone-get-along attitude the movie suggests is actually giving bad kids a hall pass to harass more timid members of the herd. Bully never flinches, kindling tremendous sympathy for the kids who seem systemically stuck under a boot heel. (Kyle Swenson)
The Cabin in the Woods (R) — If its geek pedigree isn't enough to tip you off that this isn't your typical slasher movie, it should become clear within the first few minutes that co-writers Drew Goddard (who also directs) and Joss Whedon have something else in mind for their pre-apocalyptic twist on The Evil Dead. The setup is familiar: Five college kids spend a weekend at an old summer house tucked deep in redneck country, doing everything you'd expect them to. They find a diary with an old Latin inscription in the creepy basement, and you know what happens next — or do you? (Michael Gallucci)
The Deep Blue Sea (R) — Director Terence Davies has built a reputation in his native England as a cinematic poet who releases lyrical masterworks every decade or so. Playwright Terence Rattigan's 1952 drama remains a foundation of post-war British theater. All of which is to say that Rachel Weisz starring in this new adaptation is a big deal, and the movie does not disappoint. We meet Weisz's Hester as she props a suicide note on the mantel, turns on the gas, and waits to die. As she floats out of consciousness, the film drifts between present and past. Hester is married to a much older judge named William, a wealthy nobleman and doughy milquetoast, but she's fallen for dashing young former Royal Air Force pilot Freddie (Tom Hiddleston). But Hester doesn't die, and as what was supposed to be her last day drags on, she finds herself recalling her fall and confronting her ultimate isolation. (Lee Gardner) Rated R.
Footnote (PG) — Father Eliezer and son Uriel have devoted their lives to studying the Talmud, but it's the son who earns all the recognition. When an administrative error grants Eliezer the Israel Prize — an award he's coveted his entire career — it comes to Uriel's attention that he was actually the intended recipient, leaving him to wonder whether the revelation will destroy their already tenuous relationship. At times stylized, Footnote remains true to itself and to its characters. (Erin Gleeson)
The Raid: Redemption (R) — Young police officer Rama is a badass, a good man, and husband to a pregnant wife. He and his fellow SWAT officers have been tasked with taking down malignant crime lord Tama, who has turned a rundown apartment tower into his fortress. Once the raid goes down and the building is alerted to the cops' presence, Evans goes nuts. When two dudes beating the crap out of each other atop a table covered with cocaine residue is a grace note in your symphony of ass-kicking, you have arrived at a new level of over-the-top. (Gardner)
21 Jump Street
(R) — Based on the late-'80s TV show that launched Johnny Depp's career, this reload centers around newbie cops Jonah Hill and Channing Tatum, police academy pals assigned to go undercover to find out who's supplying kids with a synthetic drug. The movie clicks not so much because of its two leads, but thanks to its great supporting talent, including Ice Cube and Rob Riggle. The finale unravels on prom night, picking up speed after a cameo that almost justifies the price of admission. (Kyle Swenson)
We Need to Talk About Kevin (R) — It's every parent's worst nightmare and something Eva Khatchadourian (Tilda Swinton) knows from the start: There's something wrong with her son. And early on we know it too, because a teenage Kevin went on a shooting spree at his school, killing several classmates. Eva is trying to pick up the pieces of her shattered life from the outset, distancing herself from the tragedy of her past and barely disguising how fragile she's become. Swinton doesn't say much — she doesn't have to. Her tear-stained eyes and anguished face carry all her emotions. In a career filled with terrific, subtle performances, this is one of her best. (Gallucci)