Ed Gonzalez

With dubious scruples, and much Broadway-style caterwauling, the film imagines what The Wizard of Oz would look like with a should-have-gone-straight-to-video chimney on her.

It's a misnomer to label the climax of Steven C. Miller's patently sick Arsenal an actual climax.

As juvenile and frivolous a wish-fulfillment fantasy as one might expect from the visionary behind the lightsaber and Princess Leia hogtied to Jabba the Hut, Strange Magic depicts war as a series of scarcely muddied binary oppositions: between good and evil, the beautiful and the ugly, and singing and death by karaoke.

By the end of it, you'll be crying uncle--or wish you were watching The Help instead. At least that was a more artful lie.

John Gulager is neither artist nor genius, bringing only straight-to-video conviction to Piranha 3DD.

The film is only in the business of supplying the sort of fear that hinges entirely on the shock of the exotic.

In the wake of Bobcat Goldthwait's Wolf Creek, Exists's metaphorical ambitions are as under-realized as its story-circumscribing use of found footage.

One wishes it had spared us the remedial theorizing on media culture and artistic representation and license and less apologetically acted the part of a straight-up horror film.

Robert Lieberman's Perverted Justice advert spins its wheels with scene after scene impatiently cut like a montage sequence.

This juvenile horror-comedy spoof is primarily, if unintentionally, a cautionary tale about the perils of allowing brahs to make movies.

The film's sense of conviction and psychological nuance never rises above that of the "I Learned It from Watching You" anti-drug PSA.

The film slightly reorients our perspective on the familiar tropes of both the teen and apocalyptic genres.

It’s rather amazing how far the film is able to coast on its uniquely fascinating premise, even if it isn’t much of a stretch for its director: Campillo co-authored Laurent Cantet’s incredible Time Out, a different kind of zombie film about the deadening effects of too much work on the human psyche, and They Came Back is almost as impressive in its concern with the existential relationship between the physical and non-physical world.

Roman Liubyi’s documentary is nothing if not self-consciously obsessed with its own making.

When It Melts is a film that lives and dies on the games that it plays with audiences.