Alex Saveliev

Luckily, the story of Waterman is so riveting and the hero so charming that it’s hard not to grow nostalgic along with the filmmaker.

Viewed as an epic fantasy, Imakake’s basked-in-golden-hues fever dream of a film is inspired and highly artistic, if overly complex and at times kind of ridiculous. Viewed as an endorsement of a cult, The Laws of the Universe: The Age of Elohim is more than a little creepy and didactic. Any way you view it, it’s pretty damn fascinating.

The Hensman brothers’ The Prey: Legend of Karnoctus is really not that different from Crawl, whose CGI crocs were just a smidge more realistic than the concealed-in-shadows puppet here. Now I’d love to put my “critic hat” back on and review a movie by the same filmmakers that doesn’t contain an oversized rat.

American Carnage has its eye on the right target; it just misses the bull’s eye.

Everything is immersed in murky browns and washed-out grays; the film is so devoid of color that it’s almost black-and-white. The by-the-numbers script by Matthew Rogers careens along, every so-called twist and turn predictable. No flair or creativity seems to have been applied to any of it.

So suspend your disbelief, get a little intoxicated if you’re of age (if that’s your thing), and you’ll most certainly enjoy this wildly entertaining piece of trash.

It Snows All the Time resembles a prolonged PSA with all the production values and depth of an infomercial.

Prepare for a threadbare, hole-ridden plot with cardboard characters, whose ludicrous dialogue is matched by the stupidest twists in recent memory. After a feature like this, the only thing that’s on the line is Gibson’s career.

Brad Bischoff’s subdued drama Grasshoppers leaves a lasting impression, certain images glowing like embers somewhere in the depths of the viewer’s mind long after the credits roll.

Part of the reason Condor’s Nest works as well as it does is that none of it feels forced or showy. Blattenberger truly set out to make a kick-ass WWII flick, albeit with his tongue planted firmly in cheek.

Underdog may seem like a story with niche appeal, but the result will surely resonate with all the underdogs out there.

While it’s solidly produced from a technical standpoint, and the lead does her best to sell the most outrageous scenarios, the end result feels undercooked.

This ballad falls right into the singular category of “so bad, it’s good,” a low-budget, highfalutin, bold, wildly overacted, and at times oddly lyrical gem that ought not to be overlooked.

One thing remains certain: Satterlund and his crew know how to drop jaws. The plot may have been told before, but certainly never quite like this.

For a low-budget, contained flick, Day’s film does a remarkable job of keeping audiences riveted with a minimum of pyrotechnics. It doesn’t aspire to greatness, knowing perfectly well what it is: a lean, mean, bloody little machine with a few subliminal – and not-so-subliminal – messages thrown in. Dive right into this tub.

The Sylvester Stallone-produced film categorically lacks any surprises and frequently devolves into mushy melodrama. Still, as a family-friendly story of survival in the wilderness, it gets the job done… just.

While The Shade does a decent job examining grief and the complexities of a brotherly bond, it never digs too deeply, relying heavily on its central actor to reveal more depth than it contains.

Sometimes, the seemingly smallest fracture that separates the sublime from the maudlin is actually, well, a great divide.

Those seeking visceral thrills may be somewhat underwhelmed by Descendent, but the filmmaker firmly establishes himself as a descendant of the Benson/Moorhead cinematic lineage.

You’ll never look at life—through a camera lens, that is—the same way again.

The film amounts to a truthful portrait of family supporting each other in a time of crisis and a painfully real depiction of the hell that was the pandemic.

Less discerning kids may enjoy Robin and the Hoods… when they’re not deep into their PlayStations and Switches.