The “Saw” franchise has long over-exploited its most intelligent twists and trickeries, though the latest installment of the serial horror saga comes up with a new way to inflict suffering by introducing political relevance into the mix.

Written by Christine To (杜致朗) of “True Legend,” “Fearless,” and “Secret” — and directed by first-time director and Ang Lee's assistant in “Lust, Caution,” Roy Chow Hin-Yeung (周顯揚) — “Murderer” shocks the audience with gruesome scenes blanketed in red and nails poked into eyeballs.

Based on Serge Brussolo's bestselling French novel "Les Emmeurés," "Walled In" is set in a cursed building, where the last four inhabitants are unwilling to speak of its curse.

To hear Tony Scott explain it, his updating of the hostage drama "The Taking of Pelham One Two Three" extends much further than just numerically altering the title.

After exposing an alleged church cover-up in "The Da Vinci Code," symbologist Robert Langdon returns to the big screen as an unlikely Vatican ally in the latest movie adaptation of a novel by acclaimed author Dan Brown.

Director Srdan Golubovic has pushed the envelope of human morality, threatenning the very reasons we uphold the rule of law before sticking a camera through the cracked walls to probe the aftermath.

The latest portrait of glorified visionary painter Rembrant van Rijn and his masterpiece “Night Watch” leaves the preeminent master shrouded in as much gloom as his painting, which was discovered dim and defaced after his death, yet it frames the mystery behind how each is recognized as a blockbuster of the artsy world.

“Pathology” is a nasty, naughty little film, a delightfully disagreeable horror-thriller about a group of medical students who engage in unusual extracurricular activities.

Whatever happened to Al Pacino? In “The Godfather,” at the age of 32, he dominated with a glare, a stare and a buttoned lip.

“Vantage Point” is proof that a good pulp idea can overcome a multitude of sins, but not all of them. Initially intriguing and energetic, this film ends up demonstrating that a good script needs to be more than a clever concept and fine direction must be more than moving things fast.