Ross McIndoe

There’s a thoughtful zombie tale with its own distinctive personality lurking somewhere within We Bury the Dead, but it’s overridden by the film’s more generic elements, and that identity ultimately gets lost among the horde.

A horror tale told from the perspective of a dog, Ben Leonberg’s Good Boy is the sort of film that was always destined to live and die by the strength of its central gimmick.

As the plot progresses, the film appears increasingly adrift, discordantly sliding between farce, satire, and murder mystery.

Nick Rowland’s film doesn’t seem to have faith in the story the novel tells.

Grafted’s biggest problem is that it loses all momentum once the face-swapping kicks into motion, meandering along with no real sense of rising danger or ensuing consequence as the baton is passed from one victim to the next.

The film retreads ideas familiar from time-loop stories without offering anything especially new.

Blink Twice clearly has thoughts about the danger that men can pose and the way women are forced to perform happiness while in the company of such predators, but it never provides more than a surface-level understanding of such dynamics.

Ultimately, Richard LaGravenese’s rom-com is a little too packed with soul-searching speeches.

Atlas seems like a story that should have been experienced with a gamepad in hand.

Benoît Delhomme’s 1960s-set directorial debut can’t decide whether it wants to be considered camp or not, awkwardly pitching itself between a somber drama and antic melodrama.

As Knox Goes Away motors steadily toward redemption and family reconciliation, it leaves all opportunity for real moral reckoning in its rearview mirror.

Once the film turns into a paranoid home-invasion thriller, there’s no ambiguity left to the tale.

Without a compelling reason for us to care about the people inside the car, a reasonably diverting journey never accelerates into an outright thrill-ride.