Ferdosa Abdi

Ultimately, The Cursed is merely a slow trek through horrific gore, lackluster and confusing werewolf lore, and a muddled understanding of the legacy of the Roma.

The best action sequence comes at the end, which bolsters the film's best use of camera movement and editing to highlight the fight choreography.

The lingering lesson in all of this is Megan Fox deserves better and Big Gold Brick is a solid turd of a movie.

All in all, Creation Stories is by no means a loss, it's just missing that special ingredient that would transform it into a film worth being excited about. Instead, it could have simply been a spirited documentary narrated by Bremner.

From beginning to end, Hellbender is an impressive, at times shocking, and enthralling triumph.

The tonal imbalance and the mismanaged themes make for an extremely uncomfortable watch. However, Dog might find an audience, one that is not so bothered by the lack of depth, and who will tolerate the surface-level insight into the issues it barely touches upon.

The film is truly a feast for the eyes and ears.

Ultimately, Michel Franco’s Sundown feels hollow and too nihilistic for its own good.

For what it is, and for who it is for, Redeeming Love is in its own way an effective showing of the power of love. Undoubtedly, however, a more compelling romantic drama about a woman finding peace with herself could have been told.

There could have been a lot to love about The King’s Daughter, but it seems the creative team simply did not know what to do with it.

The Royal Treatment is ultimately benign fun. It is sweet, simple, and boring.

Sex Appeal has good intentions and good instincts, but a lack of nuance torpedoes the whole endeavor.

Borrego, written and directed by Jesse Harris, is misguided and fails to be thought-provoking or contemplative on the matters it seems to be about.

See For Me is an exciting home invasion thriller that dares to challenge viewers with a complicated lead, even if it somewhat fumbles the execution.

Achoura is by no means a bad film — quite the opposite in fact. There is potential for Selhami’s career as a horror writer-director as his vision and ambition shine bright through his film.

Swan Song is a respectable science-fiction drama. While it may feel overwrought and overly sentimental in parts, the film is immersive and engaging. Ali is magnetic and his natural onscreen charisma, paired with a terrific performance, make Swan Song an absolute must-see.

The film is very pleasant and manages to succeed in what many romantic comedies often fail to do — be entertaining and worth revisiting.

With an underlying theme of love and acceptance, Single All The Way blossoms into a funny, delightful, and heartwarming romcom gift for all.

While formulaic, Bruised beats the odds by being a fairly entertaining & moving sports drama that has everything one would expect from a Berry film.

No matter how ridiculous the plot, and no matter how super Christmas-y these films get, Hudgens will remain the steadfast north star.

Resident Evil: Welcome To Raccoon City is a fun and faithful adaptation of the games it is based on, but is lacking in character substance.

There needs to be a vision, an ambition to make something good and memorable. Ida Red, unfortunately, seems to fall into the trap of emulating better crime dramas instead of trying to stand out on the merits of its own story.

Cummings and McCabe don’t quite balance the purple envelope mystery with the character study of a self-involved man, and the ending takes a sharp left towards confusion, but it is surely something worth watching.

With dazzling lead performances from Jimmy O. Yang and Nina Dobrev, Love Hard will surely be a Christmas romantic comedy worth revisiting every year.

While it has entertaining moments, Black as Night isn't very balanced and the overall lack of levity ultimately makes the film a slog to get through.

Without offering anything particularly interesting or nuanced, The Guilty still has enough to keep audiences engaged and on the edge of their seats.

Everybody’s Talking About Jamie is bright, joyous and hopeful. The script is honest, sweet, and humorous, and comes to life beautifully with a dazzling ensemble cast led by Harwood.

In The Voyeurs, writer-director Michael Mohan takes all the lessons of the truly wild erotic thrillers of the 1990s and brings them into the modern age. With a dose of Alfred Hitchcock’s Rear Window and Brian De Palma’s Body Double, The Voyeurs perfectly captures all there is to love about the genre.