Miles Logan is a jewel thief who just hit the big time by stealing a huge diamond. However, after two years in jail, he comes to find out that he hid the diamond in a police building that was being built at the time of the robbery. In an attempt to regain his diamond, he poses as a LAPD detective...

In Beneath the Blue, young ensign Craig Morrison, starring Paul Wesley (Vampire Diaries), is sent on an undercover assignment with Lieutenant Gwen Stiles, Ivana Milicevic (Casino Royale), to investigate the disappearance of a dolphin from the Navy’s Marine Mammal Command outpost in the Bahamas.

Powder Blue is one of the most depressingly bad movies ever made. Every decision -- from the screenplay to the acting to the visual palette -- is a cynical calculation based on an uncomfortable amalgam of several other much better movies. The characters are manipulated ciphers, their stories are emotional copycats, and the film is an ugly, wretched bit of sanctimony. Of course the film purports to be about finding hope in the unlikeliest places, but I found absolutely none, except when the credits started rolling.

If you watch a lot of horror movies, particularly in the last few years, you have no doubt grown accustomed to the expectation that low budget horror movies are emotionally vacant, supplanting plot and character nuance for needless gore and brutality. It's as though filmmakers working under these confines lack the confidence to deliver a movie that will be talked about for its scripting, its performances, or for the affecting eye of the camera. In turn, they gaze upon the successes of higher profile films (namely those bearing the unfortunate Torture Porn label), think, "I can top that" and then proceed to default between alternating modes of hate, dialog that would make the cast of Deadwood blush, and boundary-pushing violence, the thought process being that if they can't make a film memorable for the characters, they'll make it memorable solely for how much pain they inflict on them.

Tell me again who was looking for an Into the Blue sequel. What was that? I can't quite hear you. Little louder. Just a bit louder. Sorry, I still can't hear you.

All right, that I heard loud and clear. No one. No one was looking forward to this movie; yet here it is, Into the Blue 2: The Reef, ready to take us out on the water in search of treasure and filled with thrills. In other words, it is a release sure to disappear on the racks, swallowed by other direct-to-video releases not to mention the latest blockbusters. That raises the question of why I would bother with it. The answer ties back to the original 2005 film, which I found surprisingly entertaining — not particularly good, but well worth my time.

When Captain Amazing (Kinnear) is kidnapped by Casanova Frankenstein (Rush) a group of superheroes combine together to create a plan. But these arent normal superheroes. They are individuals who are not good enough to be real superheroes. Now, the group who include such heroes as Mr. Furious (Stiller), The Shoveller (Macy) and The Blue Raja (Azaria) must put all the powers together to save everyone they know and love.

Eddie is the responsible for the maintenance of the Ruby Pier amusement park and a veteran of World War II. While trying to save a five year old girl from an accident with ride that is falling after rupturing the wire, Eddie dies. He awakes in Heaven, and the Blue Man explains him that he will have a journey meeting five people in their heavens that will show the importance of his life before he goes to the next level.

Set in Los Angeles, following a few officers in the Los Angeles Police Department in April 1992, Dark Blue takes place from a few days before to during the acquittal of four officers in the beating of black motorist Rodney King and the subsequent L.A. riots. The movie begins with some of the footage of the Rodney King beatings and then switches to a scene showing Sergeant Eldon Perry (Kurt Russell) pacing around in a motel room. He grabs a shotgun and pistol, and then the movie cuts to a scene with two men in a car, five days earlier. The two men, Darryl Orchard (Kurupt) and Gary Sidwell (Dash Mihok), appear to be robbing a convenience store, when they are actually after a safe in the room above the store. In the process, four people are murdered, and one severely wounded. The story then shifts to Detective Bobby Keough (Scott Speedman), who is in a Gun Board hearing in relation to an application of deadly force. His partner, Perry, defends him, and the two leave.

Elmo McElroy is a streetwise American master chemist who heads to England to sell his special new formula - a powerful, blue concoction guaranteed to take you to the 51st state. McElroys new product delivers a feeling 51 times more powerful than any thrill, any pleasure, any high in history. But his plans for a quick, profitable score go comically awry when he gets stuck in Liverpool with an unlikely escort and his ex-girlfriend and becomes entangled in a bizarre web of double-dealing and double-crosses.

Somerset Maugham began his novel The Razor's Edge by remarking that "death ends all things and so is the comprehensive conclusion of a story, but marriage finishes it very properly and the sophisticated are ill-advised to sneer at what is by convention termed a happy ending". As with quite a few things, that wise old cynic was wrong; many of the great dramas truly begin after the curtain has come down on a wedding. Nearly all of Jack Lemmon's films, for instance, concern disastrous marriages, and his second picture was called Phffft!, an onomatopoeia for the sound of a marriage expiring like a dying match. Derek Cianfrance's Blue Valentine, which he co-scripted with Joey Curtis and Cami Delavigne, is an account of the passionate, protracted Phffft! that concludes the marriage between Dean (Ryan Gosling), a blue-collar worker from Brooklyn, and Cindy (Michelle Williams), a medical student from a lower-middle-class family in Pennsylvania. It is a romance that begins in the first years of the Bush administration and ends with the coming of Obama, but the political events and social currents of the time do not significantly impinge on the characters' lives.

The Secret of Moonacre, in stores September 21, is the story of 13-year-old Maria Merryweather, whose father dies and leaves her orphaned and forced to live with an uncle she's never met and didn't know she had. She has to leave the beautiful London home she has always lived in and move to the mysterious Moonacre Manor to live with her uncle, Sir Benjamin.

Summit Entertainment has tried just a little too hard to broaden the appeal of its new computer-animated feature “Astro Boy,” liberally sprinkling the kiddie picture with references that only adults will understand. The effect is closer to Dreamworks than Pixar, however: “Astro Boy” trades subtlety and emotional development for easy gags.

A reboot of the classic Japanese anime series, “Astro Boy” does not stray too far from the original’s premise. Scientist Dr. Tenma (the voice of Nicolas Cage) is driven mad by the death of his precocious son Toby (Freddie Highmore). Determined to bring the boy back to life, he implants his son’s consciousness within a state-of-the-art robot powered by a mysterious blue ball of energy.

It's not very often that the "credits line" in a movie poster will cause you to look twice, but I was both curious and intrigued when I read that David Ayer, Kurt Wimmer and James Ellroy were collaborating on a movie called Street Kings. Ayer is a prolific screenwriter who digs cop stories (he wrote Dark Blue, Training Day, S.W.A.T., and The Fast and the Furious) and recently directed his debut effort: the seriously underrated Harsh Times. Kurt Wimmer, on the other end of the genre spectrum, is the writer / director of sci-fi flicks like Equilibrium and Ultraviolet. And James Ellroy? A very respected novelist making his screenwriting debut. (His works have spawned movies like L.A. Confidential and The Black Dahlia.) And weirdly enough, although Street Kings is very similiar in theme and content to Ayer's earlier works, he's not credited as a screenwriter. Just Ellroy and Wimmer.

Gnomeo & Juliet is a CG-animated send-up of the William Shakespeare tale of star-crossed lovers that's set in the world of ... plaster garden gnomes. And it's chock full of songs by Elton John, who also executive produced the film. Bear with me. It's not as bad as it sounds.

I saw a really creepy film today. To be honest, I was surprised at the level of cinematic perfection this film had as these kind of films usually make the press alot earlier. To top that, it has the coolest on-screen ambience I’ve seen in long time, maybe even as far back as 30 years ago. Filled with foggy, misty, gloomy, Dracula’s castle-like moorish atmosphere, you can’t help but assume some creepy specters will be jumping out of the nearest tree or open window. I can tell ya the fog machines were working overtime on this one. But beyond the technical details, the atmosphere was perfect for any kind of scare they wanted to throw at you. The color tones were also adjusted to a cool cold blue an green hue set against a background of twisted trees and grim looking hills.