Patrice Witherspoon

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.

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.

Though The Good Mother contains great talent like Hilary Swank and Olivia Cooke, the predictable formula holds it back from saying something meaningful.

It’s goofy and relies heavily on common tropes, failing to offer insight into the players as people outside their team.

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.

Donowho’s western tale follows a typical formula, but there are plenty of laughs and smiles to be had throughout this familiar story.

Last Days is as frustrating to watch as it is to try to understand this avoidable tragedy.

Woodley and Mendelsohn do everything they can to convert the weak story to something worth watching.

It isn’t the worst directorial debut by any means of the phrase, but Burr’s raunchy comedy fails to say something meaningful. Instead, it underwhelms.

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.

The film is certainly worth a watch simply for the music and the entertaining aspect of its storytelling.

Parallel Tales is exactly as advertised: The central story interweaves the lives of six people in ways that should be a recipe for delicious, chaotic drama. Yet, Farhadi's latest is bogged down by its repetitiveness and refusal to offer anything new to a story about imagination and voyeurism. What we’re left with hangs a little too long onto a thin rope of painful repetition, false hope, and jaded screenwriting.

Its endless, unfunny humor is tiresome and obnoxious, the commentary is short-lived, and jokes related to Sam’s unpreparedness are repetitive.

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.

Packed with great action sequences and a cast that is committed to each other and the script, Gray's latest is creative and fun enough to hold attention.

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.

It’s a difficult film to take seriously, as it buries its potential in absurd drama, dialogue, and sequencing.

Poolman is an unfunny spoof of neo-noir thrillers with hazy direction, even messier storytelling, and unbearable dialogue.

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.

This shocking horror comedy is a train wreck that you can’t look away from. Whether the filmmakers intended this to be the case is a question on its own, but I’m sure Krazy House will acquire a following.

Riddled with a familiar story of survival and characters who never stop observing and asking important questions (even though most of them are scientists), Jurassic Island offers some unconventional yet decent entertainment.

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

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.

In hindsight, MVP is the kind of film that could definitely work for audiences. What it lacks in technical achievement, it undoubtedly makes up with heart. Though Boyer doesn’t necessarily hit the ball out of the park with his debut due to some odd choices that negatively impact the story structure, it’s easy to see why he chose this as his first project

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.

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

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

Saunders’ feature-length directorial debut is a confident one. With humor and heart, he writes and directs relevant themes and experiences that the world has come to understand well at this point in society. Dotty & Soul is genuine without being preachy, and humorous without leaning into offensive territory.