Tom Six’s “The Human Centipede (First Sequence)” is all bark and no bite, conjuring up an admirably cringe inducing premise before blowing it all with an hour and a half of awful acting and incessant silliness.

“Piranha 3D” is a proper piece of lightweight summer cinema, albeit an example that those with an aversion to mutilation and nakedness should probably avoid.

“Inception” is one of the best films of the year so far, and will likely at least in the technical and writing categories be a player during next year’s awards season. It’s a loopy but stunningly innovative property, constructed by talented filmmakers who seek to make clever scripting and awe-inspiring imagination the key ingredients within their motion pictures.

As was the case with his satisfactory 2007 thriller “Vacancy”, Nimrod Antal has taken a simple premise and turned it into solid multiplex entertainment with “Predators”. The film captures the spirit of the original film and seeks to play out the same jungle based nightmare that haunted Arnie back in 1987.

I’ve long been a quiet admirer of David Fincher’s maligned “Alien 3”, a sequel a notch below its epic predecessors; but certainly sharper than most multiplex garbage. 1997’s “Alien Resurrection” is another case entirely.

Director Basset has sculpted a magnificent looking movie despite a constraining $40 million budget, everything from the production design to the CGI beasties look professional and respectable. The action scenes are well executed and pack a healthy degree of blood and guts, Basset also editing it all together with a steady hand and a comprehensible selection of shots.

“A Nightmare on Elm Street 2: Freddy’s Revenge” is a classic example of schlocky sequel syndrome. The film arrived only one year after the original, and had Wes Craven benched as a producer; subbing in Jack Sholder for directorial duties.

Much like vampires, the apocalypse has been in vogue for the last few years. Movies such as “I Am Legend”, “The Road” and “2012” have been regulars at multiplexes, which begs the question, when will the masses grow tired of all this end of the world shenanigans? At least “The Book of Eli” sets out in principal to do something a little different, even if it is mostly unsuccessful.

“Harry Brown” is a compelling film, powered by a devastatingly raw performance from the legendary Michael Caine. Oscar nominated director (for his 2007 short film “The Tonto Woman”) Daniel Barber makes his feature length debut here, and it’s an uncompromising and promising foray from the filmmaker.

Released last September to universal derision and a quick death at the box-office, “Whiteout” is a sucky thriller; easily predicted and devoid of fulfilling storytelling.