Cody Dericks

Silent Night, Deadly Night is no great piece of art, but in the same way that candy stuffed in a stocking is far from a five-star meal, it doesn’t matter to those seeking it out, and it’s enjoyable all the same.

while there are certainly entertaining moments throughout, Van Sant’s interpretation of this forgotten true crime story is simply not as exciting as it should be – and clearly wants to be.

Ultimately, Pizza Movie’s title not only reveals a major plot point but also captures the film’s overall energy and weight. It’s generally enjoyable while being consumed, but afterward, it may not feel like a fully satisfying or nourishing cinematic meal.

On A String is a gentle film; even its more satirical elements aren’t particularly prickly. That softness, combined with extremely low dramatic energy, unfortunately, means that it’s not always the most enthralling film, and its abrupt ending (and super short runtime) gives it the impression of inconsequentiality.

Bugonia makes the disappointing choice to favor ridiculousness over meaning.

The Stranger is a distancing, cold watch that’s sure to leave many viewers feeling completely stranded, which just may be what Ozon is going for.

Despite being well shot and slickly constructed, “Faces of Death” doesn’t successfully bring the decidedly not-good but undeniably captivating spirit of the original film into the 21st century.

Bodycam is an efficient little scary movie that has its share of scares, even if they’re nothing that horror fans haven’t seen before.

It’s hard to argue with Martel’s mission, or the existence of the film at all; however, unfortunately, the director’s wide-ranging approach has the effect of muddling the story rather than elevating it.

The jokes are plentiful in quantity but certainly not in quality, and the shiny, cheap-looking filmmaking itself doesn’t make it any easier on the eyes than it is on the ears. And while it certainly has a heart, thanks in huge part to the talented ensemble of funny performers, it doesn’t have the brains or the nerve to be clever or daring in its comedy.

Rather than feeling like the kind of culture-shifting moment the original film became, this remake is more of a shrug, destined to be sadly scrolled past by disinterested streaming audiences.

With Below the Clouds, Rosi performs an act of preemptive time travel by putting images and voices of a specific time, place, and people onto film. It’s a taxing watch that intentionally tries modern viewers’ patience, which is sure to repel most, but the nobility of Rosi’s intentions is inarguable.

Yellow Letters is shockingly low-energy, despite the urgency of the situation the characters find themselves in.