Debopriyaa Dutta

Unbearably tense at times, Ultrasound executes its high-brow sci-fi concept with ease, while some unanswered threads can make it a frustrating watch.

The Changed is a poorly-executed alien invasion riff-off, bereft of any sci-fi elements worth delving into or relatable characters worth rooting for.

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.

Despite featuring tense chase and gore sequences that are fairly well-made, Texas Chainsaw Massacre butchers Leatherface's legacy in the dullest of ways.

Combining the delightful and the absurd, Strawberry Mansion is a sweet triumph, an ode to imagination, and a manifesto on the wonders of love.

The only glaring flaw in Alone With You is its rushed final moments and ending, but it is not discordant enough to mar the genuinely uncomfortable scares and taut suspense it generates throughout.

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 lull of Memoria would be non-existent without Swinton’s breathtaking presence, as she grounds and elevates the elusive drama with incredible nuance.

Perhaps if Death of a Telemarketer were 30 minutes shorter, it could’ve made an improvement on its already-threadbare and mirthless plot.

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.

Shattered is a poorly-acted home invasion tale with laughably predictable twists, amping thorough frustration in viewers by dragging on to no end.

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.

Despite its potential, A House on the Bayou has nothing new or interesting to offer, with the final twist further undoing the film's scattered charm.

Too little attention is granted to Apex’s world-building, and the sci-fi aspect of the film seems more of an afterthought rather than an active factor, making the film a terrible, mediocre letdown.

Lair could have been a solid entry in the horror genre had it not been hindered by a muddled narrative and sub-par execution, which only leaves the viewer wishing for something far more substantial than what was given.

Raw, powerful, and tonally balanced, The Souvenir Part II brings the fraught tale of a young, grieving artist to a wonderful, empowering finish.

Perfectly balancing tense drama with charming humor, Finch highlights the best and worst of humanity, and a robot-dog friendship worth remembering.

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.

Unpredictability being its lone strength, We Need To Do Something is an uneven survival horror that gets caught up in its own pretentious trappings.

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.

Overly reliant on tropes that have been done to death, Reminiscence emerges as an inert ghost of the past with no innate value or meaning.

Thoughtful and hauntingly beautiful in style and treatment, Nine Days emerges as a sublime slice of cinema that sincerely tugs at the heartstrings.

An intense slow-burn, Pig is a beautiful meditation on the true meaning of loss, replete with vignettes drenched in humor, pathos, and violence.

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

No Sudden Move is a tautly-paced noir thriller prepped with a never-ending carousel of twists and betrayals that culminate in a satisfying denouement.

Sporting discordant sound design and deliberately surreal visuals, The Amusement Park emerges as a harrowing allegory about the terrors of ageism.

Whereas most Disney remakes have been limited by a lack of originality, both in terms of script and character development, Cruella emerges as a much-needed act of rebellion, with the titular character donning an identity invested with true meaning. Needless to say, Cruella is the future.

Replete with atrocious visual effects and sound design, Vanquish emerges as a ghost of an exciting action thriller with a tired, deadpan storyline.

Rooting itself in nuanced tech-noir, The Tangle unfolds into breathtaking lyrical poetry about human ambition and “the caverns measureless to man.”

Honeydew feels derivative from start to finish, its arthouse elements lending an aura of inauthenticity to an already-lackluster backwoods nightmare.

Uninspired in terms of narrative ingenuity, Sacrilege mimics cult horror tropes with detached superficiality, failing to either scare or compel.

Lacking narratorial depth, convincing characters, and a plausible storyline, Curse of the Blind Dead utterly fails the original tetralogy on all ends.

Upholding genre tropes whilst subverting them, Son is an unsettling fever-dream drenched in unspeakable acts that leave viewers on edge until the end.

Although based on an intriguing philosophical conundrum, A Glitch in the Matrix feels unreal on all fronts, poorly-researched, out of touch and vapid.

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.

Often ridiculous, yet perennially fun, Psycho Goreman is a clever, schlocky genre-mash with characters one cannot help but ultimately root for.

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

Lacking narrative direction and even pacing, Monster Hunter is yet another soulless video game adaptation that drowns in its own inadequacy.

Despite featuring a few well-executed, tense gore sequences towards the end, Smiley Face Killers is mostly uninspiring and makes for a tedious watch.

Wander, the latest collaboration between director April Mullen and writer Tim Dorton, straddles the thin line between paranoia and truth, yet emerges as a compelling thriller with a genuine thirst for exposing what lies beneath.