Matt Donato

Pet is scariest when exploiting our social fears of being rejected, and at its worst when playing some psychological switcheroo in a Saw-like basement.

The Strangers: Prey At Night is a feature-length homage to Carpenter's best, and albeit familiar in structure, Johannes Roberts' execution strikes with brute ferocity.

King Cobra has the intensity, excitement and poison every thriller needs, and wild, engaging performances to boot.

Godzilla: King Of The Monsters lays many a colossal Kaiju smackdown, but human arcs crumble under the heavy weights of those 'Zilla-sized behemoths they're forced to shoulder.

A soulful ghost story that does an unexpectedly solid job speaking to younger audiences about the afterlife, nailing the film’s appropriately spooky gateway-horror ambitions.

It’s an enjoyable movie-night combination of lightning quips, genuine friendship and observational humor paced with Sonic’s “gotta go fast” attitude. Score one for video game fans!

Railroad Tigers is an action epic that wants to be a comedic goofball, as it fumbles both aspects when trying to meld them together.

There’s not much to Elevator Game, and McKendry struggles to find the film’s extra gear, which underwhelms in its familiarity instead of finding comfort in the YouTuber satirization that has become popular with the rise of social media.

In its braggadocios final form, genre fans have a unicorn watch that surely won’t be replicated anytime soon. Points for creativity, points for ambition, and points for a studio showing the balls to back provocative genre cinema.

Tom Cruise is as muscly and bland as heroes come, restrained by the burden of two dead-weight companion pawns. Jack Reacher is a man who thrives on working alone, and this dull tale of backstabbing militant leeches proves that fact tenfold.

Despite Winslet's stunning cowgirl fashionista, The Dressmaker is a whole lot of weirdness packed into a story that stumbles around like an emotionally-inept drunk.

As the word “m#th&rf$ck*r” loses meaning, you can’t help but appreciate a wholly predictable – yet unapologetically confident – action goof that’s far funnier than it should be.

Pandemic certainly won't spark a nationwide outbreak, but it's a sleek enough take on infection thrillers that's worth one good late-night watch.

Bird Box Barcelona ekes by thanks to dependable and lived-in performances, but overstays its post-apocalyptic welcome across its almost two-hour duration.

If you’re laughing at all throughout Masterminds, it’s probably because of Jason Sudeikis.

Sonic the Hedgehog 2 might momentarily lose itself to for-the-kids wackiness, which certainly leaves some plotlines frayed, but the reasons we’re here—Knuckles, Tails, Sonic, more Eggman—are all enthusiastically respected. I’m a happy Sonic fan after Fowler’s high-speed sequel.

The Ardennes may be saturated in dark blues and snow-covered blankness, but it burns with bright fury as Robin Pront inches closer to his film’s inevitable breaking point.

The corroded mineral walls, dehydrated trees, and all of nature’s other décor are wonderfully shot, and the performances aren’t to blame, but The Seeding just doesn’t have the storytelling mindset to protect its characters from looking like fools instead of victims of horrific circumstances.

You Should Have Left is a perfect example of how "forgettable" horror cinema is somehow more tedious than something that goes out in a blaze of failed ambition.

Scares are often on the generic side (pitch-black doorway, hand reaches out), and while some wild effects work enjoys the zanier side of Hell’s mouth opening up to spit venom across Earth’s surface, it’s missing the masterfully torturous tone that Wan’s universe otherwise aims for.

Attack Of The Lederhosen Zombies doesn't quite live up to its eye-catching name, but still offers enough undead snowboarding mayhem worth a horror laugh.

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

Come And Find Me is a fine-and-dandy missing persons thriller with a romantic twist, suitable for those whose Aaron Paul senses tingle upon reading the film’s synopsis. First-time features are anything but safe bets, so a cheers is in order for Whedon’s accomplishment – no matter how small.

You can find horror movies a lot better than The Pope’s Exorcist, but in an increasingly stale exorcism subgenre, you can absolutely do worse as well – and Russel Crowe’s Italian accent is unintentionally hilarious.

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.

Justice League is a sloppy team-up film that doesn't even take time to properly introduce pivotal members of its titular team, but when you're playing a dangerous (also ill-advised) game of catch up, these are the risks.

Gaztelu-Urrutia’s expansion feels redundant and over-explained, but also sludgy and disjointed. It’s like being served a second dinner after you’re uncomfortably full; the flavors taste the same, but the experience is far less fulfilling.

Unforgettable is a "How Not To" guide for romantic thrillers, passionless and without tension when it comes to the conflict at hand.