Alison Foreman

There’s too much effort, too much time, and too much sincerity apparent behind this film to dismiss it outright. That’s what makes it frustrating, and maybe even tragic.

Alloway’s debut is a beautiful disaster that even at its weakest points has just enough glamor and guts to justify most genre girlies taking the journey eventually. Just don’t expect to find anything especially ripe, or rotten, once you check it out.

Marketed as a triumphant return to form and positioned as a nostalgic corrective move for Paramount after a year of public controversy, director Kevin Williamson’s latest lands like a corporate gesture that misunderstands both the franchise he created and the horror landscape it inhabits now.

Iron Lung is audacious and at times astonishingly boring. Still, it feels more enthusiastic and celebratory than many blockbuster adaptations built on safer math.

It’s a flashpoint depiction of American life filtered through a specificity that feels rare, romantic, and essential right now.

Wickedly lovable with the potential to be timeless, “Send Help” is controlled delirium microwaved on high heat.

A nasty, claustrophobic display of creative ineptitude — one that’s packed with as many incomplete ideas as it is tired genre cliches — Return to Silent Hill squanders the rare opportunity to translate one of PlayStation’s most psychologically sophisticated worlds into valuable box office fuel.

Caught somewhere between “Buffy the Vampire Slayer” and “The Wire,” this dark genre hybrid has a lot of flaws, but none of them are fatal.

Sure, the jump-scares are wild; the beatings are bananas; and at a certain point, you have to laugh. But Ben deserved better than a cage so primitive and a better owner might’ve really let him run free.

Director Derek Drymon does better than you’d expect with Paramount’s spooky new feature film — expanding the swash-buckling legend of the Flying Dutchman (Mark Hamill) into a funny, vibrant hellscape sure to lure in kids and millennials alike.

The latest Silent Night, Deadly Night is an audacious 2025 season capper for Cineverse and a solid achievement for Nelson, one that promises the director will give us more genre worth unwrapping down the line.

Come See Me in the Good Light co-mingles the kaleidoscopic themes of genderqueer poetry with the grueling daily management of a deadly illness — and does the vulnerability of its well-chosen subjects remarkable cinematic justice. Through that, White creates a sense of existential wonder and a film bursting with hope for all kinds.

Lacking in chemistry, clarity, and conviction, Neon’s latest rendezvous with Perkins hits like a crumbling marriage that would serve everyone involved by ending as soon as possible.

If You See Something remains urgent in spite of its flaws.

Emotionally honest and algebraically stylish, Maio Mackay is a filmmaker the entire industry should watch in the coming years. But her latest purple-hued feature demands the attention of hot, tattoo-having, “Buffy”-loving, “Charmed”-binging, queer horror fans right now.

Canoodling more than we’ve ever seen Ed and Lorraine canoodle before, Wilson and Farmiga also seem to have a blast wrapping up their portrayals in a movie clearly created with their stardom in mind.

At a time when even horror lovers are petrified of isolation, Mother of Flies festers with feelings too scary to keep inside. It’s imperfect, better for it, and even languishing in grief, a clear cinematic legacy ready to start.

Harpoons have never been more terrifying than they are here, and Robinson and Lansky expand Williamson’s once quaint universe so dramatically that it can be shockingly hard to see the Fisherman coming.

Useless narrative threads and too many wasted elements give away M3GAN 2.0 as an amateur effort made by a talented horror filmmaker who has not yet mastered action’s specific visual language or skill set.

The problems start with Shaina Steinberg’s misguided and shallow script.

"Prom Queen” blitzes through familiar pop-comic vignettes, only pausing to make its loathsome characters’ adolescent nightmares just a little bit freakier.

It doesn’t get much better than a rude maître d’ denied room on a life-saving elevator. And yet, even falling from the top of the Skyview, Bloodlines will have you laughing about that piano all the way down.

An imperfect hidden gem worth ticking off for genre completionists, it’s also a suitable pick for Mother’s Day 2025 — one that will remind true horror myrmidons why the best springtime releases so often lurk in mess.

Caught between “Cabin in the Woods” and the mystifying “Serenity,” Until Dawn makes countless gestures at being an incisive horror comedy — some good, some bad — but works better approached as a full-blown spoof. If that was the intent here, a better name might have been something like “Video Game: The Horror Movie” (or maybe “Horror Movie: The Video Game: The Horror Movie?”)

Commingling an overwrought spin on something like “The Babadook” with the kind of bland nonsense genre fans should expect from a Blumhouse flick in March, The Woman in the Yard is effectively a cinematic garage sale peddling parts from better movies.

What begins as an atypical use of two beloved actors gets more messy than complex in The Rule of Jenny Pen. And yet, the undaunted director, Ashcroft, approaches his vision with palpable conviction.

This nutty blend of hyper-violence and one-liners is a dark comedic delicacy.

The making-of story is well worth hunting down and can make this broadly underwhelming movie almost worth the watch.