Luna Guthrie

It is not a movie with the intention of entertaining its audience, but rather of challenging, reminding, and warning.

There is a simplistic charm to the movie that captures the strange in-between times of the early 2000s.

Dead Mail is a rock-solid crime thriller horror.

Strassner and Larsen are an absolute delight to watch, and this is the kind of movie that indie cinema is all about.

I Wish You All The Best is a triumph on everybody's part.

Rosemead is an absorbing and thoroughly heartbreaking movie that deals blow after grievous blow to its audience, and Lucy Liu is just astounding.

With its depth, style, and surprisingly outlandish ending, Night Patrol is the latest feather in Long's mightily-quilled cap.

It's an engrossing thriller that reels you in with its unconventionality and offers up something different in a largely uniform genre.

The movie shines the brightest, harshest light on Kaufman, and still ends up seeing nothing more than a silhouette. What was it all about? We may never know, but Thank You Very Much is about as close as we may get.

[Tina Romero's] feature directorial debut, Queens of the Dead, takes the basics of what her dad is fondly remembered for and spins it off in its own distinct style. She is most certainly a Romero in her filmmaking, but you'd never mistake Queens of the Dead for her father's work.

The pacing and comedy feel like they slow down a little at the beginning of the third act, but Ick is largely a very entertaining, engrossing, and endearing take on a classic staple of mid-century sci-fi horror, reworked for the 2020s.

Bone Lake isn't heavy or particularly meditative with its themes of sexual repression, mismatched couplings, and people's absolute failure to efficiently communicate with each other, but it gives us just enough to pad out an amusing framework and make us wonder where it's all headed.

The emotional core of the story relies strongly on the performances of Cholbi, Falé, and Gueneau, who turn in wonderful performances that don't need loud outbursts or explosive arguments.

A razor-sharp, emotionally-devastating crime thriller where the stakes are high, and chances of justice are low.

For all the charm and innovation that That Christmas is going for, it ends up being a predictable and rather deflated movie that is playing to a much younger audience than it lets on.

Stitch Head has the vibe of a teenager trying to reach the minimum word count on an essay: as long as it gets done on time, then that's the main thing.

Sutherland truly is the star here, and he holds the movie in the palm of his hand. Between the self-deprecating humor and the 110% effort he puts into a silly British Christmas movie, he creates a really friendly and inviting vibe that just radiates off the screen.

Everybody who worked on Green and Gold brought their A-game and made what could have been your run-of-the-mill drama into a truly sublime movie.

The thoroughly entertaining villains should have played more of a role, as should the store, and the material should have been more comedy-focused and delivered by actors with more of a knack for it. Once this heist was over, they could have spun it out into sequels, where each year a new operation got underway. It's a shame that this one falls so flat.

For a horror-comedy, it's not funny, and it's not scary. It's a very strange amalgamation of little drops of each of these things, heavily diluted within what is largely a romantic drama, and as such, every time it tries to be funny or scary, it feels out of place and uncomfortable.

It takes a tale as old as time, adorns it with the accoutrements of soft body horror, and ultimately tells the audience members to keep their chins up; that they have the power to break through these societally-inflicted ideas about self-worth.

Chaos ensues, dozens of better movies are ripped off, and despite a few fun kills, it leaves you feeling not very much of anything.

Through Wang's astute direction, some moving performances, and well-rounded vision, it is just as provocative as it needs to be, while making for a very entertaining watch.

I imagine there are a select few out there whose taste in comedy earnestly leans towards the likes of dadaism, and they might find actual humor in this almost anti-comedic story. There are perhaps a few more who will get the odd sensible chuckle out of the movie and forget it ever existed within a month.

It's funny, it's zany, it looks good, and has some really great character work going for it, but it probably would have turned out better as a product of the 20th century.

Dolly is a miss of considerable proportions.

It is about as standard a Western as you can imagine, one that hits all the narrative beats and clichés expected of the genre, but the technical quality of it is undeniable, bolstered by gorgeous cinematography, strong performances, and a really impressive turn from its child star, Patrick Scott McDermott.

Locked is a really slick, tightly-spun crime thriller that seems to take a good deal of inspiration from Joel Schumacher's Phone Booth.