The film is chockablock with terrible actors (including Tyga, in a bizarro cameo rapping at a frat party), and the jokes he gives his inferior cast to work with are stinkers.

Not so much horrific as it is just skeletons-in-the-basement creepy, this is a shuddery fun surprise for horror fans, who by the way should stick around until the closing credits are done for a special (if inevitable) trick or treat.

Embrace the simple pleasures of pen to paper.

Overall, it’s a package that will only be well-received by fans.

It’s meant to be thrilling fun, but it never takes off in the way imagined.

Never Go Back is boilerplate action-thriller, filmed with an anonymous style and scripted so that characters talk in catchphrases.

Suffice to say, this departure from West’s usual run of seriously freaky spook shows is a brilliant piece of work, cordite-scented sorrow, and last-laugh gags stabbed through with a discernible lust for life.

Director Keith Maitland’s film is one of the finest documentaries ever made, and it’s also one of the most unusual.

A lean, mean chase movie that plays like equal parts Donald Trump’s immigration policy, Steven Spielberg’s "Duel," and Wes Craven’s "The Hills Have Eyes," Cuarón’s desert-based take on "The Most Dangerous Game" is very much of the moment. It’s also, unfortunately, a one-note story populated with a handful of semi-anonymous archetypal characters.

Courtroom dramas can be tricky, tetchy things, but director Jackson, working from a script by David Hare (The Hours) keeps the suspense and moral indignation peaking high throughout Denial’s slightly overlong running time.

Conceptually, The Accountant kills it, but in terms of execution, The Accountant doesn’t add up.

The Birth of a Nation most definitely has its finger on the pulse of our times.

Make no mistake: This is a horror film right to its core, although the nightmare comes both from without (the war, the state decrees regarding how Shideh must dress in public, even when fleeing incoming missiles) and within (the unknown but entirely evil Middle Eastern djinn).

Hosking has a keen eye for this type of cringeworthy comedy, as evidenced by every scene going on 30 seconds longer than it should, and enhanced by over-the-top, cartoony violence. But is The Greasy Strangler a contender for cult classic status? I guess that’s a question for the ages.

Cassel’s feline visage, covered in a velvety layer of fur for most of the movie, doesn’t fare much better. At times, he resembles an angry cast member from Cats rather than the tormented fiend trying to find his human self once again. It’s beastly.

There’s no grand plot outline in American Honey, and at two-and-a-half-hours' running time, the film certainly rambles.

It’s a tedious watch, inferior in every way to David Fincher’s slick, grinningly grim "Gone Girl." Any chance for lightning striking twice is going, going, gone.

The film mixes vivid cartoons coming to life from the pages of Rafe’s sketchbook with the live action. The film is reminiscent of some of the best aspects of John Hughes’ teen movies: playful albeit with strong emotional centers that ground their suburban teen rebels.

The movie’s disjointed weirdness begs the question: Was Hess ever in the driver’s seat?

The Polish/Israeli co-production picked up the Best Horror Feature award at Fantastic Fest 2015, and it’s a shame that Wrona is gone, but at least we have this superlative example of his cinematic brilliance.

Rises above the usual underdog sports cliches to become something quite affecting and distinctive.

It’s a phantasmagorical chase movie that rarely takes a breather long enough for you to enjoy the sights along the way.

Is That a Gun resorts to smutty humor and moralistic speeches to confront the issue of American gun violence in the wake of Newtown, Conn. This movie uses those murdered babies’ name in vain.

The Dressmaker’s twists are best experienced blind, and its treats are modest but genuine.

That Berg and writers Matthew Carnahan and Matthew Sand stick strictly to the day of that explosion and subsequent fire that sank the Deepwater Horizon certainly presents a narrative opportunity, but the lack of any resonance to larger issues is troubling (the end-credit coda is woefully thin).

Animated films have trended toward a perceptive intelligence in the past few years, but Storks wades in shallow waters most of the time.

Goodhart’s film is a winner – sweet but not sentimental, tart without turning sour. The studio-produced romantic comedy may be flatlining, but who cares, so long as snappy indies like this one step up to fill the void?

The script is replete with filler inserted in the name of “real life”: bad jokes and silly riddles, spontaneous songs, and improvised scenes in which conversations go around in circles.