Gabe Toro

Much of the credit must go towards the makeup crew. It's a Fangoria funhouse up in here: Cabin Fever: Patient Zero has some of the most disturbing, disgusting gore effects of all-time. This is a movie made by people who have studied some of the worst injuries known to man.

The workmanlike precision of On the Job carries through to its action scenes, none of which are shot with any flash or style, but are edited with a propulsive pace and performed by a watchable cast enough to make them engaging.

When Lotz is not onscreen, Stephens is miserable company. But James does reveal a deep fascination with the robotics that suggests the threadbare story was a chance for him to explore the very real advances in artificial intelligence.

Bad Milo! is ultimately a fairly pedestrian film, but in those moments where Milo takes action, if you squint, there’s just a little bit of that old-fashioned movie magic.

It is a credit to Snowman's Land that it's plot twists are, for the most part, not entirely predictable, nor do they ever come across as far-fetched.

The cast alone deserves to be recognized more than the notes of “Speak It, Don’t Leak It.” And yet, here I am, humming it.

17 Girls is mostly fueled by grrl-power, from it's nineties-era femme-centric alt-rock, to it's marginalization of boys as sperm-deposit devices, unfair but a natural corrective to years of women onscreen as purely sexual objects.

An outlandish fantasy that surrenders to overheated melodrama, but nonetheless titillates the eyes like a grand feast.

It feels like this is a short film idea stretched to feature length, and the padding doesn't work.

Hell Baby works as a joke factory first and foremost, a collection of tropes (some mocked) second, and a movie a distant third.

Exceptionally gorgeous and exceptionally silly.

Down The Shore at least deserves credit for its strong performances.

An oddity recommended for only the most fervent, undemanding comedy junkies.

Van Damme’s an arresting presence in his old age... His performance is a wonder, showcasing a man who has never found his physical equal, and how amuses himself by telling stories that ultimately mock opponents.

There is a lived-in quality to Supporting Characters that comes from either a strong cast or days of rehearsal – unclear as to whether they had the latter, though they definitely have the former.

What dooms Hit and Run, which, charitably, is not as generic as it's name implies, is that the film itself comments on its own sincerity.

The project seems compromised by a meager budget and limited scale.

You get the feeling that if there were less fighting and more character work, not only would Bell knock it out of the park, but Raze would be a better, more interesting movie.

Being played by Gregg himself makes the transition more organic than it was for Rockwell in "Choke," but it still rings false.

Caught In The Web grows slack as its premise evolves.

Karr came up through documentary filmmaking, and he knows how to turn the switch on an event to make it feel immediate and dangerous. Unfortunately, the picture strands its characters in the middle of this event, building to a climax that seems open-ended if only because the story, and its skimpy characters, has nowhere to explore.

Directors Kramer, Miller and Newberger prefer embellishment, allowing personal stories about Downey to fuel animated re-enactments that trivialize rather than penetrate.

The crime isn’t that Kick-Ass 2 is vulgar (which it is), but that it’s for so little gain.

The sloppy reveals of the third act can be seen from miles away, turning this into a low-impact actioner where characters are turned into chess pieces, and the narrative’s aim is to strategically assemble the parts like a play set.

For Scenic Route, it doesn’t seem to be the journey as much as the destination: seeing two sorta-friends wailing on each other feels like the shortcut a better movie never made.

The film progresses to the point where it feels less like father and son, and more like a young boy listening to an inspirational audiobook.

Even given the shapelessness of the picture, Hoback does the best he can in providing an imperfect timeline to a possibly worsening issue.

The film similarly boxes itself in when it feels the need to mimic the third-act occurrences of "Paranormal Activity" when it's obvious that improv had the film going in an entirely less predictable direction, clearly pointing out the fallacy of A Haunted House: you can't parody something and also try to emulate it as well.