Not scary, not funny and unappealing to look at, the only thing the film gets right is casting a very sexy Colin Farrell the villain next door.

“Priest” begins with a chunk of nicely animated exposition, explaining the back-story in very visual terms, thusly saving audiences from having to digest dry monologues or clichéd narration. However that’s about the only genuinely clever thing it does for the entirety of its concise 87 minute runtime.

The cast are phenomenal, battling unremarkable writing and emerging victorious. Saoirse Ronan brings both an irresistible innocence and frightening ferocity to the title role, the delicate actress injecting the part with a radically impressive helping of physicality.

Based on a novel of the same name by Sara Gruen, “Water for Elephants” is a majestically mounted period picture. Set in a superlatively depicted depression era Circus, the film aspires to operate as a swooning romance, but genuinely finds grander successes in other areas.

You’ll struggle to find a more insubstantial film than “Cedar Rapids” this year, a well cast but weakly stitched together comedy that encourages yawning over laughter.

“Thor” feels more like an obligation than a work of passion, a blockbuster fashioned to help support Marvel’s forthcoming “Avengers” flick, as opposed to enthralling on its own terms.

In retrospect 1981’s “Arthur” was hardly a classic, merely a box-office success that oozed moderate amounts of charm. A solid cast of performers (namely Dudley Moore and John Gielgud) sailed the film into agreeable comedic waters, leaving audiences fairly amused and feeling good. This 2011 remake achieves more or less exactly the same thing

It’s been over a decade since 2000’s “Scream 3”, the world’s thirst for pictures featuring the iconic Ghostface having dried up right alongside it. However thanks to Hollywood’s consistent inability to produce fresh ideas, we now have “Scream 4”, a random and mostly unwanted continuation of this once proud franchise.

“TT3D: Closer to the Edge” is a surprisingly astute blend of sympathetic characters, fearless action and extreme bravery. At 104 minutes it’s perhaps too long, but on the whole I’d consider it a documentary worth seeing.

Who is the wolf? This mystery is easily solved early on, Hardwicke making it obvious through a selection of distressingly clumsy shots. “Red Riding Hood” attempts to use this central idea to incur a state of paranoia and suspense, but thanks to some unsubtle indicators and the film’s general refusal to unleash any genuine threat, the fear levels remain fairly low.