Drew Taylor

What We Do In the Shadows is the type of little movie that you watch and feel like you've discovered something really special. It's a total surprise; a silly, scary delight.

The original film was unpredictable and loose and every so often gave up the aura of dangerousness. If anything, the sequel is a tepid, watered down, and at 100-minutes oftentimes boring attempt to recapture the magic but without any of the whimsy.

The story is so poorly-plotted, nonsensical, and misogynist that it's hard to imagine one person liking this material, much less millions of literate book lovers.

This is a movie primarily concerned with numbers and the way that information is fed, processed, and acted upon. But it plays like the greatest paranoid thriller since "All the President's Men."

Yes, it’s funny and charming and sometimes deeply amusing. But at the same time it lacks any kind of emotional resonance.

He's a romantic and a psychopath and creature of the night. Sadly, Dracula Untold, with its humorless aura and been-there-done-that feel, doesn't allow Evans to inhabit many of these aspects. Instead, Dracula Untold feels largely uninspired.

It's just a bore, barely registering as a movie (visually, it looks more like an USA cable series), which is a shame, because with the oddball cast and somewhat notable director, it could have been fun and trashy. Instead, it's just forgettable.

If "subtle" horror movies are going to be this devastatingly boring, maybe it's time to bring back the buckets of blood.

The Boxtrolls charms, in every way it can – with its gorgeous animation style that combines lo-fi with high-tech (the puppets were printed using 3D printers), with the huggable nature of the characters, and with the boldness of its storytelling and thematic concerns.

While The Town That Dreaded Sundown is ambitious and supremely weird, it fails to cohere into something more resonant.

There are enough pleasures going on in John Wick to elevate it above just another dumb action movie.

Fans of the novel might get some minor thrills from the big screen adaptation, but it's hard to understand what made the material so popular in the first place.

Somehow, No Good Deed finds a way to be exploitative and creepy wherever it can.

At it’s best, Tusk is outlandishly unforgettable.

It offers a handful of effective moments and some characters that are fun to watch squirm through muck and bones, but not much more than that, especially when the films spins out of control towards its conclusion.

If you’re not looking for reinvention and loved the first "Sin City," then you'll probably love this one too. It's a gorgeous-to-look-at, brain-splattered case of "more of the same."

In the new documentary To Be Takei, it becomes clear that Takei is a man who defies expectations and subverts stereotypes at virtually every turn. It’s just a shame the movie wasn’t as progressive as its subject.

“No No” is a jazzy, joyful exploration of a man that, if he wasn’t able to actually change the system, was at least happy with giving it the middle finger.

There have been some reports that this is the last entry in the series, but it feels like the franchise is (finally) just getting started. "The Expendables 4" anyone?

Made in America proves that the American dream is undeniably powerful, even to those who have accomplished so much that they have to appreciate it in a form that borders on the abstract.

At 100-minutes, the movie drags and drags until finally losing steam in the last act and then collapses into a pile of worn out platitudes, limp gross out gags and gooey sentiment.

The specificity of the documentary, staying within the walls of the boot camp for virtually the entire movie, is one of its biggest strengths since it is able to place you right alongside these kids.

Planes: Fire and Rescue serves as a dramatic improvement over the original, introducing thrilling action sequences backed by actual stakes and an unexpected emotional dimension, all on top of upgraded animation and a greater emphasis on character.

All in all, Earth to Echo is passable family entertainment, neither unforgettable nor particularly bad.

Tammy is a boring, unfunny road movie that limps along idly, consisting of a string of nonsensical set pieces and halfhearted stabs at character development that come across as off-putting and odd.

Under the Electric Sky shows you the transformative, incredibly positive power of dance music, but in terms of a movie, it falls a little flat.

What Ping Pong Summer lacks in conviction or ingenuity, it makes up for in heart. The nostalgia that the entire film is built upon doesn’t seem misplaced.

It’s a lifeless, meandering, overlong (116 minutes!) trudge through the oversized ego of its creator, full of wrong-headed humor and inept filmmaking.