Patrice Witherspoon

Director Gren Wells crafts a tender, yet narratively unbalanced film that accentuates the gift that is Sadie Sink’s talent.

Armageddon Time excels at capturing naiveté but under-commits to sharing the truths of racial disparity when it comes to the American dream.

Though it tends to overstay its welcome, She Said takes its time sharing the experiences of women in a way that leaves enough impact to make one want to stand up to the systematic mistreatment of women in their own workplace.

Thanks to the cast and crew, this flamboyant tale of lavishness works on almost every level. At the heart of Pretty Problems lies a story about appreciating what you have and not relying on the compliments of strangers to influence your self-worth.

Sissy sacrifices its themes for violence and surface-level explorations of psychological realism, making it as frustrating as it is compulsively fun.

There’s an enormous effort to entertain, but Bromates runs out of ideas faster than it can provide organic laughs.

The film is messy and gets tangled up in its protagonist’s folly, but in the process, Zac Efron delivers a heartfelt and killer performance.

In the end, Goodnight Mommy contains a great balance of intrigue, shock, and entertainment. The film also captures the need for a mother’s love and truly thrives when it settles into the more intricate and intimate part of its storytelling. The cast does an incredible job conveying these underlying themes in addition to leaving enough open for audiences to interpret and figure out on their own.

Hatton offers an engaging approach towards his storytelling. By concentrating on the intrigue and horror elements within his feature, the end result isn’t perfect, but there’s plenty of fun to be had throughout to make the watching experience an enjoyable one.

That familiar question of “am I a good person?” will linger with viewers just as it does the characters, making it a fascinating watching experience as much as it is a good time.

Ungar’s Bandit entertains because of genre alone, but the ambiguous messaging leaves much to be desired.

Lou is a quiet thriller that takes a deep dive into the consequences of one’s actions. The film enables Janney and Jurnee Smollett to command every scrap of attention through physical and emotionally compelling performances.

The acting, from both Black Panther's Letitia Wright as June and Tamara Lawrance as Jennifer, is a particular standout. Their commitment to delivering intriguing performances as troubled twins elevates this weak script and enables viewers to become fixated on what was happening to them.

Tom George returns to directing, attempting to take on the genre with humor and flair. Relying heavily on whodunit tropes, See How They Run is a little too stale and unfunny for its own good.

In End of the Road, Shelton transforms an already compelling script into one about family, motherhood, and survival. And it is nothing short of entertaining and refreshing.

Speak No Evil shows viewers the dangers of not speaking up about discomforts for the sake of politeness, and it’s horrifyingly twisted.

Whether that be through exploring mental abolition versus determination or even activism versus an individual’s special needs, Hamm’s latest had the potential to say a lot more than what was accomplished. Instead, he doesn’t do much with either, and he relies a little too heavily on his actors to take this uninspiring script towards sincerity.

It’s unapologetic with showcasing the intricacies of girlhood, and it’s a joy to experience and witness sexuality, queerness, and female friendship in its honest totality — free of judgement and restraint.

With thinly written characters and a narrative confined to moments only serving to push Mike and Kate to the height of insanity, this is about as disappointing as it gets for a film with such promise and potential.

Me Time may not be a groundbreaking entry into Netflix’s catalog, but it offers reliable laughs for anyone needing an escape from their own hectic reality.

Love in the Villa may be a silly rom-com at heart, but with Graham and Hopper’s compelling chemistry, leaning into the ridiculousness and unrealistic moments is worth it for these two alone.

With stuntman J.J. Perry behind the camera, Day Shift is a killer upgrade to vampire lore and a damn good time.

Whitebloom struggles to bring the excitement into his heist film, Stowaway, his feature debut, like he’s done in past music videos.

Sharp Stick is charming thanks to great performances, but the lopsided script doesn’t reach its full potential.

It doesn’t always capitalize on its strengths, but Don’t Make Me Go is a journey worth taking thanks to fantastic performances from its two leads.

While not breaking any molds or revealing a side to addiction that many films haven’t before, Stay Awake tastefully captures how devastating it can be for family members.

Ultimately, Father Stu is unlike any other faith-based film I’ve seen. It’s raw, honest, and uplifting without tapping into preachy territory, which ultimately makes it effortlessly uplifting.

Some pacing issues result in a feature that feels a bit uneven, but I’d be lying if I said I wasn’t entertained throughout all the craziness.