Matt Donato

Dogman is one of those curios that you don't understand how it got made and just kinda marvel while it's happening, but once you try to put all the pieces together, nothing fits, and you're left wondering what the hell you just watched.

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.

The Space Between Us is not without bright spots (celestial production design dazzles, Butterfield’s niceties are refreshing in today’s day and age), but it’s ultimately more a slog than serendipitous romance.

It's a heartbreaking tragedy, dreamer's comedy, and saucy stumble through double-edged "success" stories, but most of all? It's a bloated, brass-band-swingin' mess.

Texas Chainsaw Massacre is a sloppy and gratuitous killing spree with standout deaths but a poorly written story that ruins the experience.

You’ll find laughs, zaniness and plenty of signature slow-motion jiggling, but it’s buried under a burdensome two-hour procedural.

The Blackcoat's Daughter aims for lofty satanic thrills, but gets lost in visuals that oversell a barbed but tangled nightmare.

Dark Glasses is forgettable. It’s also an upgrade for contemporary Dario Argento.

Bloodshot shoots to kill, but with the accuracy of a Stormtrooper - off the mark and leaving much to be desired.

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.

The Grudge feels like "just another remake," which is a shame with such a previously style-forward director at the helm.

True Memoirs Of An International Assassin scores a few lucky shots, but ultimately overstays its welcome.

Your enjoyment of Child's Play will depend on if "Chucky 2.0" is funny enough for your horror comedy tastes, because without investment in Kaslan's "Buddi," there's not much to appreciate beyond a few gnarly slasher deaths.

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

Ben Browder's follow-up to Bad Kids Go To Hell is less stylized and more generic, even with the same private-school mean streak.

There's nothing uniquely surprising or exceptionally rousing, which is a shame given the unfathomably dreadful predicament and an interesting turn of a performance from Dave Bautista. It's a film without sensation that feels like it's pulling its punches across the board – development is stunted, ideas lack passion, and the camera avoids visible violence – before the ending strolls off into the sunset with barely any goodbye.

Where Josh Ruben’s Scare Me soars thanks to tension delivered through imaginative monologues, LaBute’s latest is mostly benign chatter that rambles its way to an unimpressively expected conclusion.

Writers Kevin Biegel and Scotty Landes adapt Kreischer’s unbelievable viral story about robbing a train with Russian mobsters into a retrospective on the comedian’s tumultuous history with excess—a tonal misfire of fantastical absurdity clashing against emotional confessions.

The Twin builds mysterious dread rooted in paranormal possessions and possible cult activity, but its ill-serving payoff vaporizes the crippling weight of loss fastened to each character.

Flock Of Dudes is light on both bro-bonding shenanigans and worldly drama, despite boasting such an enviable cast of comedians.

Though not a terrible film, Insidious: The Last Key fails to live up to the franchise's high standards.

There are glimpses of comparably daydreamy thrillers like Come True or The Feast that give themselves to the fantasy of mania, but A Banquet fails to grab attention like these more ambitious companions. It all builds up to a cinematic Irish exit.

Star Wars: The Rise Of Skywalker suffers the misfortune of having a director who cares more about digging up a franchise's past than moving forward with an original story.

Evolution is undeniably beautiful, but it's a small-scale story which ignores a larger world that needs far more exploration.

SiREN never takes Bruckner's original idea and runs with it, failing to capitalize on a demonic romance that so many V/H/S fans demanded to see more of.

Allied is a prestige drama without the prestige, wooden in appearance and lacking any true drama.

Leave tells a story about the monsters of humanity, but is shy about terrifying its audience—a tragic flaw that cuts the genre’s volume like unplugging an amplifier mid-performance.

The Windmill is all about kills, but can't generate enough energy to power this derivative, sometimes nonsensical plot.