Matt Donato

Unfriended: Dark Web takes all the most engaging and horrifying techno-horror qualities from Unfriended and wipes the cache disappointingly clean.

Annabelle Comes Home is crowd-pleasing horror entertainment that’s both fun and eerily frightening.

Destroy All Neighbors is a horror-comedy with a fun premise and creative effects but it’s messy in too many ineffective and wrong ways, like listening to a 20-minute jam session that never finds its hook.

Ma is a showcase for Octavia Spencer's ability to turn her typecasted traits into utterly disturbing obsession destabilization, but the film's less potent genre punch never lives up to its main character's psychotic allure.

In the hit-and-miss subgenre of horror anthologies, V/H/S/85 is a shining beacon. Filmmakers are given the space to explore a gamut of ideas, none of which feel restrained to fit a specific anthology mold.

Renfield makes a mess of its story at times, but does a good enough job getting gorgeously gruesome with its vampire action sequences to win us over with cartoonish gore – and Nicolas Cage's Dracula is one for the ages.

Dog Eat Dog is all bark and no bite, playing around in a sandbox of vulgarity with little rhyme or reason.

Ang Lee’s depiction of life after war (or on leave) is a respectful one not without derivative roadbumps, but honest in appeal.

It's A Wonderful Knife might make its points with steel blades, but that doesn't negate the saccharine earnestness that assures this one as a new Christmas horror favorite with a heart three sizes bigger than you'd expect.

When it’s best, The Seed is covered in slop and prone to psychedelic “romance” sequences where actresses writhe under and between the creature’s endless tissue flaps. It’s obscene and artful, on a budget that proves “doing it yourself” can still be provocative.

47 Meters Down navigates choppy waters, but ultimately manages to deliver some prime summer-time screams.

Murder On The Orient Express is an antique mystery that chugs along at 5-miles an hour without any turns that might jolt viewers in the slightest.

Ghost In The Shell is exactly the high-fi cyber shooter you feared it’d be, drenched in digital paranoia and concerns of network privacy. Visual fancies overload the senses early and often, only to hope the kaleidoscope artistry lingers long enough to overcompensate for back-end dullness.

The Last Voyage of the Demeter should delight horror fans raised on Boris Karloff and Bela Lugosi, and offers an R-rated bite of vampiric brutality for genre fans with a stronger bloodlust. Øvredal does well to transport his cast to a time when scary stories were told around lanterns in the dead of night, and even if the moodiness evaporates due to a protracted runtime and the foregone conclusion of Dracula’s landfall, the director accentuates the basics of violent feeding sessions in hair-raising fashion.

Fantastic Beasts: The Crimes of Grindelwald is two-plus overstuffed hours worth of too many characters fighting for screen time that no enchantment can salvage.

Despicable Me 4 loses focus like a golden retriever in a Petco plushie aisle, splitting characters into bottled subplots that can only be addressed in single-file order.

Azrael is both familiar and unique, blending genre comforts with a risky idea. Luckily, it all works, paying off a relatively massive gamble that benefits from Samara Weaving's star power.

Where The Witch unleashes disturbed cinematography or Lizzie swings a vicious ax, The Last Thing Mary Saw is a duller distillation of the fear-based corruption that faith can spread.

Jurassic World: Fallen Kingdom is boggled insanity of the highest and most enthralling sci-fi order. As exciting and wondrous a summer blockbuster audiences could ask for. You must suspend reality (EVEN FURTHER) and enter a world where dinosaurs have existed for years in order to attain circumstantial nirvana, but if done correctly, an absolute wealth of ceremonious riches await

For what it’s doing and for how visually appealing it can be, Dark Harvest delivers October ickiness with a crooked smile.

Kids vs. Aliens brings gloopy, grotesque practical effects to a childlike sci-fi thriller that fails to shine outside kill sequences and costumes.

Valerian And The City Of A Thousand Planets is a fantasy adventure that’s nowhere near as adventurous or fantastical as it should be.

Desierto is one of those movies that's nasty without reason, and never really finds its stride by way of tone or message.

Ridremont succeeds in crunching bones and raising hell, all with a seasonal waft of cloves and corpses from behind a wishgiver’s crooked smile. It’s chilling, teeters between moral stances and is a hellish-jolly greeting that should please horror fans in the mood for merriness gone malevolent.

The Wrath of Becky is still a fun-filled slaughter-fest, even considering the lulls before Becky unleashes her fury.

Rough Night is a seriously funny movie led by some seriously funny ladies, but even more impressive is a mainstream comedy that relies not on cheap shocks like many who have come before.

An under 90-minute runtime does the film a massive favor, but Stanleyville is still an overextended last-person-standing confrontation of life’s ultimate acceptance that fulfillment may not ever be achievable.

The Accountant is so many baffling things, most (but not all) of which can not be described in a positive manner.