Grant Hermanns

Both the dramatizations and the interview segments of the film are artistically gorgeous, showing a remarkable grip on genre styles, from film noir to pastel-soaked satire and shadow-heavy psychological thrillers. With animation from April Kovacs and Brad Brown also deployed to tap into Werhun's love of literature, there's not a single frame of the film that doesn't immediately catch the eye.

With thin character work and a familiar story surrounding it, the movie ultimately proves more disposable than enjoyable.

Pizza Movie is a refreshing delight. The simply titled Hulu comedy knows who its audience is, and it delivers plenty of gross-out gags for them to laugh at. But it also takes its genre's formula and infuses it with a real shot of originality that gives even non-stoner-comedy fans plenty to sink their teeth into.

Director Vicky Jewson and her stunt team... properly make dance a large part of its central characters' fight sequences, which gives them a very different flavor. However, this only elevates the film so far beyond its fairly underwhelming script.

As fun as the film is when it leans into its genre trappings, Touch Me wouldn't be anything without its small-but-superb cast. Olivia Taylor Dudley, largely underutilized beyond her time on The Magicians and with Onyx the Fortuitous and the Talisman of Souls, is transcendent as Joey, easily delivering a career-best performance.

It's something of a disappointment that the film, as a whole, fails to live up to Byrne's great work in it. But it's certainly not a bad film.

With its molasses pacing and bland direction, this film is an absolutely forgettable dud.

Day's commanding performance as Jimmy is Kill Me's other greatest asset. For a good portion of the film, he taps into the comedic skills he's famous for, at times playing Jimmy like a more grounded take on It's Always Sunny in Philadelphia's iconic Pepe Silvia scene. But when the film turns to Jimmy confronting his demons, Day really shines."

Thankfully, despite the movie feeling imbalanced in parts, One Another still proves to be a generally charming enough diversion.

Infused with a sharp exploration of the immigrant experience in America and a smattering of such high school tropes as mean-girl cliques and prom queen competitions, the movie is a wonderfully bonkers ride.

For all of its missteps, calling Dolly an outright bad movie still doesn't quite prove an accurate descriptor for Blackhurst's slasher thriller. It's got a solid cast of performers, occasionally stylish direction, and some shocking brutality, but can never quite find the right rhythm to bring it all together.

While it has a mix of fresh and familiar concepts, Protector ultimately still feels too routine to stand out from the crowd.

The creepy imagery in the first act improperly sells just how dull the movie ultimately ends up being for the majority of its overlong runtime, and while its snail-like pacing and lackluster acting fail to make its psychological themes land with anything more than a mute thud.

Despite having some really good parts driving it forward, it's unfortunate that The Mortuary Assistant never quite finds its rhythm.

The Wrecking Crew has finally put Momoa and Bautista on screen together and, thankfully, it largely lives up to the potential of the acting duo.

Gans and co-writers Sandra Vo-Anh and Will Schneider clearly wanted to try and make a faithful translation of the second game in the series, but between unnecessary lore changes and a lack of thematic heft in some of its storytelling, the filmmaker's return to the franchise is a weird mix of exciting recreations, gorgeous visuals and disappointing execution.

Co-writer/director Ryan Prows has assembled a star-studded cast, some of whom wonderfully elevate their potentially one-note characters into intriguing figures, and its base structure of corrupt cops being vampires is one rife for tackling the very real issues of police corruption in the world, yet the mix never quite comes together.

Its sometimes rushed pacing and overstuffed arcs often work against the meaningful messages at the core of the story, particularly the ending, but with enough charming moments and soulful performances from its cast, particularly Bacon and Sedgwick, it really toes the line between being a must-watch and an acceptable skip.

It hits the familiar beats that many find comforting, it has an undeniably adoring dog front and center for much of its runtime, and has a well-meaning enough outcome to its plot. But for those looking for something that doesn't quite literally skate the surface of its premise and characters, this is definitely not the film for you.

I can't deny Krawchuk has absolutely improved on some of his missteps from the first film, but in his apparent effort to pull from the success of Terrifier 2, he learned the wrong lessons regarding mythology pacing and crafting a compelling final girl, making this slasher sequel another learning experience rather than a celebration.

While it may not be the most refined example of its genre, it's really hard not to fall in love with A Little Prayer. Both in the script and performances, the characters feel thoroughly well-realized, the themes at the heart of the story are universal and tackled deftly, and MacLachlan's direction creates a richly tender visual palette.

The haunted object formula actually has some proper stakes, while the imagery proves memorable enough. Yet its clumsy story, bizarre character choices, and awful dubbing turn it into a truly messy affai

In addition to providing a great script, Russell proves to have an excellent eye in the director's chair. He and cinematographer Pat Scola nicely mix a range of visual styles for their scenes, making particular use of handheld close-ups, putting us right into the emotion of each scene.

Year of the Fox is a movie far too marred by its narrative missteps to fully embrace its better parts. The dialogue becomes increasingly predictable and mind-numbing, which makes for a very misguided effort.

Site is a movie that's made up of a solid foundation with an interesting concept, ambitious direction, and a talented cast that can't find a way to maintain its better efforts along the way.

As the stakes rise alongside the body count, Canning nicely captures Candice's struggle between her enduring faith and doing anything to protect her son, giving us just enough of an emotional center to overcome the film's familiarity.

It may not reach the heights of other great dysfunctional family indies, but the characters are at least engaging enough to watch that the movie isn't a waste of time.

What's even more impressive about Osiris are its visual effects, which rival even those of some of the big-budget studio movies.