Brian Farvour

Revenge is often described as a dish best served cold, but with the way Mayhem! draws audiences into its compelling story, this film is white hot, and reminds audiences why revenge is on the menu in the first place.

The dedication on behalf of everyone who makes up this cast helps what’s already tremendously unoriginal to, at minimum, warrant a watch.

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.

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.

Baghead cannot grapple with bigger questions; instead, it is mostly just satisfied with cheap jump scares that don’t provide any value or comfort to those who have suffered loss. And even as a basic scary horror, it just doesn’t hold the goods.

Were it not for the concrete that is Julia Garner’s take on the lead, “Apartment 7A” could unquestionably spiral into indistinguishable obscurity, but even amidst cliché after cliché, it still manages to fulfill minimum requirements within the pantheon that is Horror 101.

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

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.

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

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.

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

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

This is as middle-of-the-road as it gets, something no one will remember minutes after it wraps and, for this reason, will likely prompt very few to express anything overwhelmingly negative or the opposite.

Director Sarah Dowland doesn’t tackle “In the Clutch” in a manner that makes any sterling advances in the world of documentary filmmaking, choosing instead to play it safe and allow Bird’s journey to do the talking, but that in and of itself remains enough to more than power the film.

Nothing here could be considered a dull watch, and if it leaves the viewer thinking about how we, as a society, treat one another, it could very well be a lesson learned.

As a showcase for the talent that is Elizabeth Banks, in addition to its existence as a thought-provoking exploration of the field of medicine and the human side of patient care, it’s an undeniable victory.

It may be straightforward in execution, but the care dedicated to bringing “Serious People” to life is just as evident.

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.

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.