Debopriyaa Dutta

Equal parts hilarious and heartwarming, My Best Part is a sweet exploration of the absurdities of life and a celebration of what's worth living for.

Weaving an unsavory tale about isolation, bullying, and familial dysfunction, Slapface looms like an uncomfortable truth that is too desolate in tone.

There is nothing remarkable or special about Blacklight — it's fairly empty, a boilerplate series of dialogue, action, dialogue. However, it is fun to witness Neeson do what he does so well and lose oneself in the thrilling familiarity of hand-to-hand combat and shootouts.

The Last Thing Mary Saw could've been a gripping queer horror about religious oppression, but is sadly limited by its humdrum and unconvincing plot.

The Kindred is overrun with clichés despite providing some solid concepts, marred completely by a sluggish pace and unconvincing writing.

Genuinely fun and touching in parts, Hotel Transylvania: Transformania casts familiar characters in new molds, adding more heart to the franchise.

Unpredictability is Agnes' greatest strength; its genre-hybridity lends a mixed bag of emotions, ultimately emerging as a raw tale about loss.

Helmed by a brilliant Bullock, The Unforgivable is a flawed retelling of a profound story, limited by plot contrivances and an unconvincing execution.

Sporting skilled choreographed action sequences, Castle Falls offers a mildly satisfying viewing experience despite a weak and muddled storyline.

Shot frenetically with delightful gore sequences, Halloween Kills adds no real path for Myers' saga and crumples beneath its own misdirection.

V/H/S/94 is a solid entry that provides the telltale thrills of gritty found-footage horror mired in '90s nostalgia, though it is flawed and uneven.

Drenched in a Suspiria-like red, Malignant has its remarkable horror moments, but ultimately succumbs to a tale that is more style than substance.

Offering no individuality of its own, Zone 414 barely manages to stay afloat with its oft-repeated tropes, which come to a listless, foreseeable end.

Despite a compelling first half, False Positive fails to imbue the pregnancy horror trope with depth or ingenuity, accelerating to a banal finish.

Visceral and uncompromising in its vision, PVT Chat etches a gritty portrait of eroticism in the digital age with great nuance and authenticity.

Although helmed by Washington’s visceral performance & nostalgia-addled slow-burn, The Little Things eventually falters due to its own clichéd tropes.

Breach has its moments of B- movie fun, stemming more from utterly ridiculous execution than a sincere effort to create a gripping space horror.