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.

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.

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.

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 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.

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.

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

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.

Every performance has something to offer and though the filmmaking is not very ambitious, it is well suited for the plot and tone. The Beanie Bubble isn’t fan service for lovers of the classic toy, but it is a refreshing take on the biopic.

Simulant offers little in the way of great storytelling and is ultimately a visual pleaser, but nothing else.

Kandahar won’t knock your socks off, but it offers a solid story that doesn’t try to be something it isn’t.

Somewhere in Queens is ultimately a well-made family drama with laughs sparsely placed throughout. The cast is crushing it and the script is as gritty as it is sweet. Romano’s direction works well, and every department is on the same page.

The film is far from perfect, but also does not attempt to be. Accents aside, the jokes are solid and don’t require a great plot to land. Quasi won’t blow anyone away, but it has its moments.

The tale is gripping, the acting is top-notch, and Luther: Fallen Sun is just plain good to miss for long-time fans of the series.

The film's events feel natural, so the audience doesn’t have to dig deep to understand and relate to the characters. Combined with a hilarious cast who are all on the same page, The Drop delivers an entertaining enough viewing experience.

The cast is not the problem, but the script certainly is. The actors are given too much to do and no time to do it. Golden has the right idea, but the execution fails the film's aspirations.

The underlying story is about dealing with grief, but I’m Totally Fine is neither nuanced nor funny enough to comment on that topic meaningfully.

Something in The Dirt is a wild ride that will take one to the limits of reality and test one's patience.

The story is very high concept and the tone is completely aware of itself, leading to a truly enjoyable experience

The film's comedy is the cherry on top of a disgusting meal one has to hear to believe.

There is nothing flashy about Davies' style and the found footage doesn’t feel obtuse; it feels imminent. The film sets out to execute a plan and does so without missing a beat. It is rare to extract so much emotion from a mostly technical achievement, but Benediction does just that.

The Tale Of King Crab doesn’t keep one's attention at first, but if the audience can make it past the period piece there is a thought-provoking western on the other end.

The script is far from perfect but if one squints, there is occasional fun to be had.

Albeit a good-looking movie with a fascinating premise, The Seed is constantly being held hostage by its poorly written script.

Against the Ice is a searing portrayal of the cost to explore in the early 20th century.

Studio 666 is not great but it is gross, at times funny, and essential viewing for Foo Fighters fans. But it isn’t as good as the video for Long Road To Ruin.

The filmmaking is very strong, but it's Copley’s performance that sells it.

A Banquet is a beautifully made psychological thriller with nuanced performances and a gross hook.

When one thinks The Long Night is walking in circles, it breaks off from the beaten path just in time to give viewers exactly the movie that was sold.

The lead performance almost shipwrecks Last Survivors, but director Drew Mylrea (Spy Interventions) is in complete control of his vision. Silverstone and Moyer feel extremely welcome outside their normal roles and should leave audiences wanting more indie genre fare from the duo. The twist alone should keep audiences watching because Last Survivors has got one that isn't worth missing out on.

Crucially, Last Looks' groovy tone allows the viewer to simultaneously try and crack the case while never having to overly invest in the plot.

I Want You Back will definitely make viewers laugh. The film isn’t trying to make anyone cry or be overly dramatic — it simply follows funny performances through the 2022 dating world and lets the audience fill in the blanks.

The film is masterful in exploring the kinetic energy between its leads, even in the most subdued scenes. The Pact is a slow burn, but one feels the heat the whole time.

The film is heavy-handed in its attempt to be subtle and even Brody’s score can’t save the day, but Clean has its moments.

All in all, The Legend of La Llorona is a kooky movie with more laughs than scares, and is best watched after midnight alongside like-minded friends.