Jim Vorel

There’s little here for the casual horror fan, but genre completionists will likely find something that sticks with them.

Snyder is trying to do so much here that the whole thing practically collapses under its own weight, a victim of its own attempt at bombast and visual iconoclasm.

Judged purely on the promises made by the title, it’s hard to see Godzilla vs. Kong as anything but a success. As a film, on the other hand, Wingard’s G v. K often still feels like it’s held together with copious amounts of cinematic duct tape.

Director Yeon Sang-ho, who staged genuinely tense sequences in the first film, just seems suddenly out of his element here when expected to produce a grander action spectacle.

Villains is a workmanlike thriller with a pair of memorable performances and a simplistic premise.

David Gordon Green’s Halloween is an intensely frustrating experience, buoyed by solid action and well-crafted scares, but simultaneously damned by an incredibly clunky script and appalling lack of focus.

It’s just passable popcorn entertainment for a Friday night on the couch, and not on the same level as more inspired Netflix genre movies from the likes of Mike Flanagan, such as Hush or Gerald’s Game.

The criticism is less that Mute doesn’t know what it wants to be, and more that it seems to emphatically decide what it wants to be every few minutes, only to then change its mind once more. And every time it does so, it’s the audience that is being left behind.

It’s easy to see why studio execs at Paramount were unsure of how to market this movie, as it seemingly attempts to check so many boxes at once that nearly any description is going to fail to accurately convey the experience of watching it. Ultimately, it’s that unstable, unpredictable nature that is simultaneously its most entertaining and most problematic aspect.

As for the cinematic The Disaster Artist, outside of its magnificent central portrayal by the elder Franco, its strongest and occasionally most problematic elements revolve around the huge ensemble cast of familiar faces.

Theatre of Blood is a classic revenge story in the Grand Guignol tradition, following a single mastermind as he hunts down and messily dispatches all who have wronged him in ironic fashion.

Frankenstein Created Woman is an entertaining aberration in a series of films that have a tendency to run together somewhat, combining beloved tropes of the format–the laboratory sets and sci-fi rigmarole have never looked better than here–with a fresh take on this particular brand of mad science, which sees the title character looking inward, toward the primordial origins of what makes us human.