A witchy brew of madness and cunning, “Black Swan” tells the story of a ballerina who aches, with battered feet and an increasingly crowded head, to break out of the corps. Played by Natalie Portman in a smashing, bruising, wholly committed performance, the young dancer, Nina, looks more like a child than a woman, her flesh as undernourished as her mind. When she goes to bed at night, a nearby jewelry box tinkling “Swan Lake,” a crowd of stuffed animals watches over her, longtime companions that — as Nina and this dementedly entertaining film grow more unhinged — begin to look more like jailers than friends.

James Rabbiits’s film The Clinic defies any true aspect of the horror genre since it mixes so many of them together into a nice little cocktail of an Australian import. The story behind The Clinic takes aspects from a lot of the current trend of “survival splatter” horror films, yet it also throws in a large part of the “slasher” sub genre and even some emotional terror are all mixed together for a film that belongs on any fan of modern horrors shelf.

The Clinic starts by introducing its viewer to the two main characters Beth and Cameron. The young couple are engaged and traveling across country to Beth’s mothers house for the Christmas holiday. The couple are obviously in love, and Beth is obviously very pregnant. While the couple are driving a large truck suddenly comes into view. It doesn’t take very long before the truck is right behind the young couples car and they are soon ran off of the road.

"No Strings Attached" poses the question: Is it possible to regularly have sex with someone and not run a risk of falling in love? The answer is yes. Now that we have that settled, consider the case of Emma (Natalie Portman) and Adam (Ashton Kutcher), who first met when they were 6 and now meet when they're maybe 26. Busy people. He's a low-rent TV producer and she's a medical student. She doesn't have time for romance, and he's dating the sexy Vanessa (played by the well-named Ophelia Lovibond).

Well folks, this is one of the big ones: One Missed Call has been named number 2 on Rotten Tomatoes’ Worst Movies of All Time list, and I’ve been putting this review off for too long. Right from the get go, I see the first thing wrong with this horror film about people receiving killer missed calls on their cells – nobody would ever call these people. They’re far too bland and characterless to ever receive any willing phone calls. But then, I guess that’s why they’re getting killed off. Let’s dive right into One Missed Call.

In this pop culture landscape, the panic that once swept over us post 9/11 has all been eased by an inexhaustible wealth of diversion. Why worry about the tensions in the Middle East when you can watch The Daily Show in the palm of your hand? Why worry about diminished security all around us when you can “Like” a FB page snickering at shots of boobs and willies taken with the new high tech airport X-ray. Yeah, we all have it pretty good, as long as someone else is taking care of them nasty terrorists “over there.”

But, what if something happens right here… in your neighborhood? That’s the white-knuckle predicament posed in the Brit horror/thriller Salvage. On the morning of Christmas Eve, a suburban Liverpool neighborhood is thrown into turmoil when an unidentified storage container washes up on the shoreline nearby.

Julio DiPietro's The Good Guy (opening in limited release Friday 2/19/10) is a film built on misdirection that suggests one thing while showing you something else.

Narrated by its central character, Tommy Fielding (Scott Porter), The Good Guy uses Wall Street as a template for male-female relationships. Getting over on a customer -- selling him something he doesn't know he wants -- is a lot like selling yourself to a woman in a bar, as Tommy explains to Daniel Seaver (Bryan Greenberg), the protégé to whom he's teaching both the art of the deal and the way with women. It's about confidence, ingenuity, spontaneity -- and a great line of bull.

Being a huge fan of Charles Kaufman's classic film Mother's Day, the prospect of a remake had me a little on the worried side. Simply put, the flick is so lovably "out there" that trying to duplicate its special brand of insanity could just never work. Director Darren Lynn Bousman realized this as well, and as a result his re-imagining of the 1980 shocker is an altogether different beast, but rest assured its fangs are still razor sharp!

Daniel and Beth (Grillo and King) are a bit of a struggling Kansas couple in the midst of hanging with their friends in the basement of their new home, celebrating Daniel's birthday and biding their time as a strong tornado heads dangerously their way. The house came into their lives thanks to Beth, a real estate agent, who landed her family the new digs via foreclosure. Little does our group know a different kind of violent storm is about to reach them first.

Joe Black and Bill Parrish enter into a most unusual gentlemans agreement. Wealthy media tycoon William Parrish leads a charmed existence until Death comes calling with an extraordinary proposition - hell delay Bills imminent demise in exchange for a tour of life. Innocent, enigmatic and often hilarious, Joe disrupts Bills world of privilege and corporate intrigue. But when he falls for Bills beautiful daughter, Joe threatens to change the rules. Now Bill must fight not for his future, but for those he loves in this bittersweet tale of life and death.

It’s the beginning of World War II and mildly disabled Danny Coogan wants to do more with his life and serve his country besides working in a hotel. Danny discovers a chest hidden in the wall of murdered guest, Mr. Toulon’s hotel room, and takes it home where he and his enlistee brother find a cache of puppets in the chest. When Danny’s family is attacked and his girlfriend Beth kidnapped, he discovers Nazi’s were behind it all and are plotting to attack an American factory. It’s up to Danny and his puppet friends to stop them, and rescue his girlfriend.

Helen McCarter has everything a woman wants a nice house and rich husband. However after her husband Charles throws her out of the house after admitting to an affair a distraught Helen turns to her mother, grandmother Madea and cousin Brian who take her in and turn back to God. Helen learns for the first time in her life to stand up on her two feet and is ready to remove herself from her relationship with Charles and move on with Orlando. But when her husband is almost killed by a vengeful client, Helen wonders if she has the heart to forgive him despite everything.

It's been several months since we've seen any new images from Daniel Radcliffe's upcoming non-Potter movie, The Woman in Black, but now a new still from the supernatural thriller has been released online.

In the 17th century a Jesuit priest and a young companion are escorted through the wilderness of Quebec by Algonquin Indians to find a distant mission in the dead of winter. The Jesuit experiences a spiritual journey while his young companion falls in love with the Algonquin chiefs beautiful daughter underneath the imposing and magnificent mountains. Dread and death follows them upriver.

STEPHEN Frears's Tamara Drewe is a British movie pitched somewhere between Thomas Hardy and The Vicar of Dibley, a rural comedy of manners with some darker intimations. It is based on a comic strip serial (with text breakouts) by Posy Simmonds that appeared over the course of 110 Saturdays in The Guardian, telling a tale of middle-class foibles, writers' egos and the vicissitudes of lust and love. The serial's sardonic vision of literary pretensions and frustrated desires survives the transition, but the movie is cosier than its source, and it lacks the grim, disconcerting denouement of the original.

In South Boston, where Irish roots run deep and Catholic tradition reigns, two brothers face similar hardships but lead far different lives. While older brother Terry descends into drugs and crime, 16-year-old Cole vies to make the state baseball championships - but must struggle to withstand his brothers destructive influence. When the two inevitably clash in a life-and-death confrontation, family ties-and futures-are at stake.

The moon may be new and the director may be different (Chris Weitz takes over the reins from Catherine Hardwicke), but otherwise, the second installment of the "Twilight" saga remains, for better or worse, exceptionally faithful to its 2008 beginnings.