Nadir Samara

The film does a serviceable job of creating a revenge story, but leaves some meat on the bone in terms of narrative and visuals. Scenes come to a standstill and make a very short movie drag in places it shouldn’t. That being said, the final showdown makes it all worth it.

Sadly, Diablo is not a special B-movie, but it is one with great fights.

While it's a very standard documentary in terms of style, and it's not brave enough to fully delve into race and gender, Deaf President Now! is never redundant and always urgent. It'll surely make your heart explode in happiness.

Final Destination Bloodlines is a spectacle, a joyride, and easily the funniest iteration in the franchise.

Kaiju No. 8: Mission Recon meets fans and newcomers right in the middle, and the resulting movie is for everyone. Overall, it's a summation of one of the best animes out right now, and if you want to prep for season 2 and are short on time, it's serviceable.

The film is jam-packed with fun tidbits and celebrity cameos that will surprise a lot of Vandross' fans — the casual and the hardcore. Considering his level of fame, it’s strange we haven’t gotten a biopic or definitive piece of fiction with Vandross at the center, but Porter seems to have made the definitive Luther Vandross documentary and it's worth every minute of our time.

A movie that means well, looks solid and is brimming with acting talent, but has neither the script nor the soul to bring home the bacon.

Skarsgård and Benjamin make for an odd pair that work well together at every turn. The vision of Mohr is clear and realized, and the resulting work of art will excite audiences around the world.

The film is funny, but the drama doesn't fully work.

Ultimately, The Kitchen is a film with its heart set on two stories and only succeeds in telling one.

The sincerity with which The Book of Clarence approaches its story, combined with its sheer boldness, will cement Samuel as a filmmaker who soars to unimaginable heights.

Concrete Utopia is one of the best thrillers of the year.

The plot of the movie works, but the dialogue definitely does not. The style is fine, but the tone is lacking. The Sacrifice Game is a film with the potential to be something cool and eerie, but the final product doesn't live up to that.

Chicken Run: Dawn of the Nugget is a blast overall. The performances hark back to the original, and while the sense of humor is not as edgy as it once was, it's still very effective.

The Archies is entertaining, educational and original.

Just in time for the holidays, writers Morgan Evans (Teen Titans Go!) and Jase Ricci have found the perfect balance of heart and hilarity in this cartoon caper.

The Shift is a Hallmark movie at best and will do nothing for those who are uninterested in faith-based cinema. As a work of science fiction, it does little to make the audience think.

With a single set repurposed multiple times, Share? makes the most out of a little — metaphorically and literally.

Though the script is not spectacular it has its moments and a realistic tension that cannot be ignored.

There are a few lingering plot lines in need of more attention, but overall everything put to the screen makes up for any of Divinity's shortcomings.

The Holdovers won’t blow you away in any particular category of filmmaking, but in the capable hands of Payne, every one of these categories is above average, making the overall film equally enjoyable and well-made.

It is Baig’s vision that makes We Grown Now sing in a way that is totally incomparable. Every shot, every musical choice, everything that makes a riveting movie is on display and at its very best here.

Mimang is exactly the film it sets out to be: Gentle, indirect but never apologetic.

Though there is one climactic heist the film rests on, there are a couple of mini crime sprees that come in the first act that set the tone for the finale. Combined with an absolute masterclass of an action set piece, Smugglers is a movie with a lot on its mind and expresses it in a very entertaining way.

Monster is many kinds of stories all at once and both the direction and script make sure that it is all in service of making the best film possible.

The script plays out like a mystery that keeps you guessing, but it also works against the film at points. Perpetrator has something important to say but just doesn’t know how to say it.

Vacation Friends 2 doubles down on the dirty jokes of the original and delivers.

In Aporia, drama takes center stage and bells and whistles are few and far between. The production value is simple but effective, as are the performances. By the time the credits roll, Moshe’s film makes its point and, crucially, does not overstay its welcome.