Brian Farvour

Dinklage remains one of the finest actors around, and Lewis is undoubtedly more than capable of something better, with evidence seen here as she disappears within Bill, but all that holds “The Thicket” together does barely enough to qualify all that unfolds as just another movie.

There’s something present here, something perhaps even brilliant, but whatever that may be; it’s just not enough.

The messages director Rachel Fleit has attempted to bring onscreen become lost in their own wake as scenes shift quickly; in a way, it is in keeping with the attention span of the TikTok generation, and much like your average TikTok, it will be over before you know it.

There’s hardly enough of a story to be told, and that which does exist has seen itself played out prior in far too many better films, both inside such a specific genre and beyond.

Ultimately, nothing transpires throughout the course of its near-two hour runtime to save “Outside the Wire” from the bottom of a department store bargain bin nestled snuggly against a battered DVD copy of so many duplicate films that came before.

Another romantic comedy in a long list of contemporaries which, despite scant traces of effort, fails in making its title character anything more than second fiddle to the couple who should rightfully take his place.

The effort deserves a nod, but the execution stumbles, falls, and, whether intentional or not, can’t be saved.

It’s not a bad movie by any means, but in its attempts to plant a seed audiences may remember in years to come, it’s a misfire.

Fortunately, the events onscreen do little, if anything, to tarnish the careers of two beloved actors who are still consistently operating at the top of their game despite the seemingly accidental efforts of director James Ashcroft.

It’s difficult to classify The Things You Kill properly, a film drifting into the revenge genre as much as it possesses an undeniable overtone of mystery, simultaneously knocking on the door of a slight psychological element.

Alas, boilerplate could best describe the events of Control Freak, despite the genuine commitment of Tran and Robbins, particularly with both oozing chemistry and dedication to whatever routine setup the movie provides next.

With a film like Anniversary, any ideas formed from the jump best take occupancy at the door. This is not meant to establish an unexpectedly entertaining journey or incredible third-act twist, but rather something far more frustrating.

For those expecting information capable of blowing the doors off the Containment Unit, it’s nothing more than a big Twinkie.

No one can fault the cast for giving it what might be seen as a decent shot, but if Star Trek: Section 31 leaves you with one thing, it’s that the final frontier, which is future spinoffs, might be best left alone.

It leaves almost nothing but questions as the credits roll, but from which it’s also just as easy to move on, a film with a title one may be thankful to say aloud as the realization that the runtime has concluded sets in.

Sadly, even for the biggest supporter of everything action has had to offer genre-lovers for decades, “G20” remains hard to recommend, as much as it hits those recognizable beats and with its Oscar winner attempting to lead the charge towards the end credits.

It’s hard to say if this is worth a view, as die-hard Cage fans might not see anything necessarily new, nor does the overall arc of the plotline break any new ground other than to offer a platform for Cage to again roll out his usual bag of acting tricks.

Settlers is ultimately little more than a bit of style and a smattering of substance.

Though Séance is mercifully brief, it’s also painfully forgettable, hopefully, nothing more than a fleeting, disposable misfire in Barrett’s otherwise strong filmography.

One Shot is merely an experiment in filmmaking chutzpah, and a failed one at that.