Grant Hermanns

The Gutter is ultimately an enjoyable throwback to the broad-skewing sports comedies of the '90s.

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

It's thanks to this cast that Shirley remains a rousing and emotional tribute to an important figure in American history.

Though its characters and story could've benefited from a deeper, more original development, Roache-Turner ultimately knows what audiences are coming to see and delivers that in droves, offering horrific deaths, a tense atmosphere and stylish direction to entertaining effect.

While it's a shame the movie around the cast doesn't quite match their efforts, it at least gives them just enough to keep Havoc from being a complete waste.

Featuring everything from handmade pasta to beautifully rolled cannolis and even the unique delicacy of capuzzelle, I could practically smell the kitchen through the screen, and it certainly kept me hooked on hanging out with the movie's charming cast.

Unfortunately for the streamer, their latest outing, Swapped, is not merely bound to be forgotten. It's also one of Netflix's worst animated movies yet."

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.

While the animation may struggle to convey some character nuance, its voice cast is more than up to the task. This is particularly true for Doug Cockle.

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.

The Trouble with Jessica's cast still can't overcome just how unlikable their characters are.

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.

The unfortunate thing about Peter Pan's Neverland Nightmare is that it fluctuates far too much between a sincere thriller and a tongue-in-cheek take on the character that it's just never as fun as it could be.

It's ultimately Hunter and Brandy's performances that keep The Front Room from feeling like a complete missed opportunity and an occasionally engaging watch.

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.

Despite their best efforts, though, Wahlberg and Berry's chemistry is never quite enough to fully lift The Union from being another mediocre Netflix action offering. The story is both far too simple and predictable, the worldbuilding isn't thought out enough to be believable, and the action isn't so exciting as to fully turn one's brain off and enjoy the decently paced journey.

As a longtime fan of the franchise, it is disappointing that we still can’t get a good Hellboy movie from start to finish, and even in comparison to Harbour’s reboot, this one lacks any major style or energy to have it linger in my mind.

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

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.

Even while Thorne's performance proves effective enough to keep us attached to her story, the rest of Saint Clare's cast fails to attain the same feat.

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.

Even once the movie elects to deal away with its ambiguity and get right to its demonic horror, The Demon Disorder still feels largely too familiar and predictable.

While the movie may never fully overcome its feeling of familiarity, Panettiere and Williams' performances truly ground us throughout the tense ride.

Though the movie's final act somewhat stumbles through its attempt at a big twist, it proves to be a refreshing approach to the formula.

Despite its fun concept and novel creature designs, Night of the Zoopocalypse ultimately finds itself weighed down by its lackluster script.

Black Cab has a pitch-perfect combination of Goodison's surreal direction and Gazelle Twin's ethereal score.

Given The Furst Brothers are clearly aiming for an over-the-top and ridiculous tone, I'm sure the awful CGI was part of their vision, but rather than feel like a tongue-in-cheek genre film, it instead makes the movie one of the best it's-so-bad-it's-good horror films I've seen in a long time.

Unfortunately, the filmmaker's style lacks the same panache or intrigue as many other creature feature directors before him, which could partly be attributed to Gator Lake being his feature directorial debut, but also could just be that the movie's modest budget prevented some of his grander ambitions from coming to fruition.