Matt Donato

It’s an odd “rock and a hard place” production about survival of the fittest mentalities that can’t help but indulge soapy relationship dramatics amidst an otherwise dire entrapment, which will probably leave most laughing and irritated at the wrong times.

This Is Your Death is a brilliant concept, but tonal mishandling makes for another media takedown that's all bark and no bite.

Sand Castle is an Iraq war story about certain futility, but there's a certain redundancy to political overtones that preach what we've been hearing all along.

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

The Birth Of A Nation is not without inherent power, but Parker struggles to evoke anything besides surface tellings of textbook atrocities.

Michael Jai White's million-dollar presence and fancy fighting techniques aren't powerful enough to overcome dull scripting and odd performance choices.

Keeping Up With The Jonses plays everything so disappointingly safe.

Kramer plays with surreal department store catalog visuals and body-swap quirkiness, leaning heavily on interpretive dance to convey meaning. There's nothing like it, but with such extravagant boldness comes risks, and they don’t always pay off.

The Predator guts and slashes its way to gory sci-fi mediocrity, but is further failed by abysmal pacing that loses characters, subplots and interest along the way.

It's a frustratingly one-note experience that boasts technique and potential, ultimately undone by a narrative blandness painted by numbers. Separately, everything works — the plan just never comes together.

Winchester is a familiar haunted house shuffle about an infinitely more interesting topic, but you must play with the hand you're dealt - win, lose or draw.

A Road House movie shouldn’t be boring, especially this boring. A Road House movie shouldn’t have to enhance its fight choreography in post-production, nor should it be such a tonal mishmash. I guess Liman didn’t get the memo? His Road House remake is an uninspired chore that never properly unleashes Gyllenhaal or nails even the most basic functions of bar fight nostalgia porn.

Fear Inc. wastes a devious idea on a slew of reveals that bring momentum to a crushing halt.

This is one sluggish curse that wouldn't wake even Sleeping Beauty.

Peter Pan’s Neverland Nightmare is a bleak, mean-spirited take on a childhood classic that trades Peter’s sparkle-bright magic for overbearing seriousness and disappointingly straightforward thrills.

The Bleeder is a surface-value, party-first boxing dramedy that pulls its punches and goes too far into "charismatic sleazeball" territories.

The problem is that 40 Acres simply sprinkles its few unique ideas atop a shambling post-apocalyptic template.

It’s a shame. Jeff Ryan’s Mean Spirited voices relevant and vile concerns about social media soullessness, but its commentary is neutered by shaky execution.

Doctor Sleep is a conflicted and unwieldy sequel attempting to unite worlds (King and Kubrick) while telling an original story from yet another filmmaker's viewpoint (Flanagan) that never blends together.

History of Evil has something to say about the sad state of our nation–-and where it’s headed should we continue to regurgitate the same racist bile—it just doesn’t justify the means before its end.

You can’t fault an attempt to transform a viral sensation into the next bonkers realization of contemporary horror that exploits our ever-volatile online climate—but you can always fault a genre film that doesn’t do the chosen genre justice.

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

Casper Kelly psychotically spoofs the strangest of strange horror titles that turn anything into a murderous entity while unraveling deadly severe social commentaries. It’s abstract art, theater camp, found footage foolishness, hunt-and-stalk depravity — Adult Swim Yule Log is a whole lot of things but, even with a full 90 minutes, few angles feel fully fleshed out.

Lion may be a little too Oscar-bait-y, but it's not without loud emotional roars.

This is just the sweeps-week Fast And Furious that jumps the shark, ready to right itself come next season – and it better. Dominic Toretto’s team deserves to go out in a blaze of glory, not a slippery skid that can’t be controlled.

Lazareth is sluggish, low-energy, and not particularly suspenseful, but most of all, it squanders a stellar Ashley Judd performance in a period where her silver screen appearances are becoming scarcer and scarcer.

Sweeney takes plenty of risks in a lead role that’s rigorous and emotionally demanding, but the film ultimately feels a bit surface level considering how it approaches horror.

The Retaliators tries to transform musical stardom into a rock n’ roll horror epic, but suffers from “too many cooks” syndrome as the end product plays disjointed and can feel like a music video demo reel.