It’s an experiment that only works here and there, yet when it works, there’s beauty in those rare moments.

If you are hoping to double down on the gore this Halloween season, this delightful, yet cheesy title will fit the bill.

You know every single beat of how their relationship is going to turn out, but because of how cute the dog is and how cute Deschanel and Cox are together, you can't help but buy into it. They're great together, and their charm elevates a script that could have easily been translated into yet another streaming Christmas romantic comedy.

Man is a true mixed bag. The action is staggeringly impressive, both from a visual and storytelling standpoint, but the material in between runs the risk of deflating the experience via pacing problems and narrative confusion.

If anything else, Abruptio will make you highly uncomfortable, and it's so unnerving that it will give you nightmares. Perhaps that's the whole point of using puppets.

The Pout-Pout Fish is not bad by any means, but don't go in expecting a new animated classic. Little kids will probably enjoy it for the innocent, lesson-filled, mild fun it is, especially if they've been introduced to what inspired it first. There's nothing wrong with that. It's what The Pout-Pout Fish aims for, and it achieves the goal.

Drifting between heartfelt dramedy and broad comedy, Driver’s Ed doesn’t always blend the two with enough finesse.

A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

Brothers is a largely enjoyable comedy, predominantly thanks to its talented central duo and smart direction by Barbakow, though it admittedly suffers from a host of issues baked into the script itself.

While there's a randomizer sense to everything, frights abound, and there's a mercilessness that bites down hard. Execution may slip and slide, but Daniels doesn't waste his first crack at the ghoulishness of this Earth or deep below.

As it stands, The Roses has its charms, but it could’ve used a few more thorns.

Granted, the footage itself and the intense quest to save these eight still make Hanging by a Wire a documentary worth seeking out. It’s just one that doesn’t have as much depth as one would hope.

It's considerably elevated by strong performances and some excellent directorial and cinematographic choices, but it ultimately is undone by details and narrative pivots that don't work.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

Don Lee comes out the other side unscathed since his charisma helps carry most of the story and he’s always fun to watch.

Juliet & Romeo isn’t necessarily a good film, but it is a very fun film, and there are far too few films that seem content in simply entertaining for the sake of entertainment.

Prom Dates mostly blends into the countless other films that cover the same subject matter, but there are a few moments here and there that elevate it to something more. While the characters are thinly drawn and their arcs underbaked, the comedy is there for the most part.

In an environment where meta horror is all the rage, Big Baby doesn't reinvent the wheel, but it does check all the basic requirements. It's got a strong hook and premise, a character and a villain who are easy to connect with, and some pretty gnarly kills and effects to boot.

There's certainly good here, but it's hard not to wish certain key moments were allowed to thrive.

The Napa Boys, written by Corirossi and Armen Weitzman, is a ludicrous concept that quickly throws you into its style of comedy and doesn’t hold your hand.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

Altogether, a lot works about Now You See Me: Now You Don't. It's a lot of fun, with a dangerous new foe and big, great-looking tricks. The new cast members are all stellar, have an engaging dynamic with the original team, and everyone gets a stand-out hero moment (a must for an ensemble this size). On the other hand, the script feels perpetually rushed.

This Is Not a Test won't give you shivers, but its zombie invasion will leave you hopeful.

It ends up in an odd space between psychological thriller and straight-up jump-scare horror that unfortunately drags down an otherwise compelling film.

Luc Besson's Dracula is weird. Really weird, borderline nonsensical at certain points. That being said, its great take on its title character is enough to call this one of the Leon: The Professional and The Fifth Element filmmaker's strongest in recent years. It takes a lot of swings, and while not all of them hit, it nails the stake in the heart of what makes this story so timeless and special.

Don’t Let’s Go to the Dogs Tonight is a fascinating indie flick with enough pull to find its audience. Davidtz does well enough with her first feature, and the story, along with Venter’s incredible performance, is more than enough to pique the audience’s interest enough to perhaps pick up the memoir.

Bird ultimately reads as Arnold “playing the hits” with a narrative she fundamentally knows how to stage in her sleep. Ultimately it feels too familiar, even with the welcome magical realism additions and a hallucinogenic slime secreting toad. Arnold fans will no doubt find plenty to latch onto with Bird, but it’s unlikely to convert non-believers.

For Andrews, Bring Them Down is a capable, intriguing debut, but it needs more depth than this revenge tale has to offer.

Poulter's acting keeps it afloat ultimately, but there are moments when the desire to focus on the recovery journey overshadows the actual story at the heart of the film. Ultimately, Union County is a respectable debut for Meeks, but in trying to do too much, it fails to land on solid ground by the time the film is over.

Samuel Van Grinsven’s ambient and meandering ghost story is undoubtedly a haunting concept with committed performances and effective elements, but the film just can’t help but overstay its welcome.

Drive-Away Dolls, the solo directorial debut of Ethan Coen, is an occasionally charming road trip comedy that never quite reaches the wit and brilliance of other Coen projects.

The film isn’t without its flaws and weird choices, but the fact that it works at all is a testament to the Zellner brothers and this incredible cast being willing to give their all for such a deranged idea.

The film has one mode, and it's never coy about its intentions to pry tears from your ducts as often as possible. If you're in the mood for a Shakespearean J-drama about mortality, stock up on hankies and let 'er rip.

Steve is an adequate film about teachers, students, and the struggles that they both go through, but it’s also hard not to think that a bit more insight into the lives of the students earlier on — particularly from the perspective of Shy — could’ve made this into something even more special.

Jimpa is a heartfelt tribute that unfortunately doesn't resonate as much as it should.

Snow White deserved an update of sorts, and this is an admirable new take that certainly is one of the better live-action remakes from Disney. It might not be the fairest Snow White of all, but it's an admirable effort nonetheless.

As a platform for Sweeney to show her broad talents as an actress, Christy is undoubtedly successful, as she finds the heart and sadness within Christy Martin. But Michôd's film doesn't make that life story quite as riveting as it should be, which is what Martin deserves.

Einbinder, Reynolds, Gluck, and Theroux are appealing as a team, but Strouse doesn’t give them any weight on their own, which leaves this story feeling fairly one-dimensional. Seekers of Infinite Love will, unfortunately, leave you searching for more.

They Will Kill You is an undeniably fun and berserk action film that relies on the style to make up for the lack of discernible substance. For the most part, They Will Kill You pulls this off, and it’s easy to get caught up in just how much this cranks itself to 11.

Killer coyotes aren't all that scary, and the comedy of the supporting characters feels forced and overly written. Kudos to the crew for coming up with a premise and refusing to send it off the rails into fantastical absurdism. Still, just because you keep the plot grounded doesn't mean that there is enough to keep up the tension.

V/H/S/Beyond falls in the middle of the pack for the franchise. It's not as terrifying as the first film, and nowhere near as bad as V/H/S/Viral. Instead, it's more on par with recent entries.

Ricky Stanicky could have easily been a disaster, but thanks to the cast, some effective laughs, and a big heart, it ends up making for an entertaining two hours.

What keeps the movie going when the script starts to run out of ink are the brilliant performances all around.

The fifth installment of a beloved modern horror franchise proves that it's losing steam.

Offering a fresh take on a legendary folk hero, William Tell’s solid cast and engaging battle sequences will keep viewers hooked. Easy to overlook its faults with impressive sequences, performances and sharp cinematography, the film is an appreciated one for its throwback feel.

Even if The Musical isn’t always a hit, it’s worth it when the film does find its high notes.

Despite some issues with pacing and its exploration of the two main storylines, this buddy comedy is entertaining and powered by a delightful trio.

As Ibsen’s play has shown, even a century after its writing, this is still a story with life in it, and DaCosta’s take modernizes it in deft ways. However, the questionable way DaCosta's film goes about it doesn’t do the story justice, making this a party that fizzles out long before the last guest has left.

It is moody and creepy, though perhaps not brave enough to wander into true melodrama or bizarre fantasy. In the end, its performances and the way it incorporates Gothic elements, along with a strong visual aesthetic, make the film a worthwhile watch.

Mothers' Instinct is an entertaining, well-acted drama that falters under the weight of its shocking ending.

What ultimately weighs it down is the lack of a core narrative to ground the chaos and madness around it. Still, come for the views, the insanity, and Cage giving away a priceless watch for a flat white.

If you're a hardcore Hellboy fan, The Crooked Man has enough to keep you engaged. If you're looking for something a little bit more in your dose of Big Red, you might be better off waiting for the next inevitable reboot.

While The Last Front struggles with its stylistic choices and lack of substance, it is still an entirely watchable and almost enjoyable war drama.

It's a film with several strong elements, though some issues in the scripting and execution limit its ultimate impact.

There's an excellent film somewhere in The Woman in the Yard, but it would take another draft to uncover it from beneath that jet-black burial shroud. Suffice it to say, it's a horror outing that works rather well until it falls apart at the end.

Even though the romantic elements aren't as rewarding as the familial ties at the heart of The Life List, the project still has its merits. From Carson's captivating depiction of Alex to Britton's warm and motherly presence, there are parts of this film that will be enjoyable for a viewer looking for something sweet and emotional to tune into for an hour and a half.

Iron Lung is far from a perfect movie, and the pacing ultimately makes the conclusion feel exhausting rather than exhilarating or shocking. You'll be ready to leave once the credits roll. Yet, the craftsmanship is there; with his directorial debut, Fischbach shows that he's more than just a YouTuber, and he can conjure up the same kinds of scares that make him scream as he's playing games.

As those familiar with Chomet's work would expect, A Magnificent Life is an exquisitely animated film to watch, even if the narrative is a bit rote. But it also makes one think that maybe the original concept for this as a documentary of Pagnol’s life could’ve been more effective and illuminating of what made him such a great artist.

While her first outing as a writer-director is a mixed bag, Kravitz shows undeniable potential to join the ranks of performers who are equally exciting behind the camera as in front of it.

When we get to the end of its hefty runtime, we get the sensation that La Cocina tried to be several things — an investigative thriller, a fish-out-of-water drama, a delirious trip of a man who’s starting to get burnt out — and didn’t manage to take any of them all the way.

The performances are all giving the necessary punch even when the writing is not. It may frequently get lost in its own narrative woods, but Bana manages once again to bring it all back to humanity.

Last Summer’s solid performances elevate it, but it never reaches the heights it could by digging more deeply into the themes and more firmly grounding us in the characters and their emotions.

Borderline is a prime example of how a really great cast can elevate rather frail material.

For a lower-budget actioner, Murder Company is absolutely worth its eighty-six-minute runtime.

It is about as standard a Western as you can imagine, one that hits all the narrative beats and clichés expected of the genre, but the technical quality of it is undeniable, bolstered by gorgeous cinematography, strong performances, and a really impressive turn from its child star, Patrick Scott McDermott.

The Soul Eater is by no means an offense to horror procedurals. Bustillo and Maury are clearly directing someone else’s script (derogatory), but they still smuggle their signature dread-shellacked brand in wherever possible.

Wardriver feels familiar. It's Dane DeHaan that makes it worth investing in. If only they had gone deeper, Wardriver could have lifted itself past expectations into something more compelling.

Given Almodóvar’s established penchant for melodrama and that the subject is euthanasia, the film is strangely aloof. It never reduces the proceedings to Lifetime territory or patronizes moviegoers in the process. It does, however, leave you to wonder a bit about the indifference you might ultimately come away with yourself.

Stream meanders, spending too much time saying so little. Quirks aren’t explained, we’re plopped into a scheme without much catchup, and the entire experience is bloated beyond reason. There’s a tighter edit of Stream somewhere, but it ain’t this version, much to my disappointment.

Out of Darkness is an often jaw-dropping horror debut that arrives at a more substantive conclusion that makes everything more interesting in retrospect.

It's a deliberately-paced drama with some decent performances and a gorgeously dark aesthetic, but lacks the time or effort to give these stories what they need.

It's a perfectly watchable movie that feels designed to keep you entertained for two hours on a rainy Sunday afternoon.

Elric Kane's The Dead Thing packs an unsettling tone and real moments of insight into its lean runtime.

The Outlaws is a lean Western tale of paranoia and betrayal that mostly hits the target, but lacks greater all-around development.

Where the first movie left fans satisfied with the bare minimum, and non-fans bewildered with boredom, the second installment will likely leave fans even happier and non-fans satisfied with a solidly entertaining robot slasher.

Michelle Pfeiffer is reason alone to watch 'Oh. What. Fun.' even if the film never fully reaches its potential.

Smith has always been best when he wears his heart on his sleeve as he does with The 4:30 Movie, a film whose earnestness tries to iron out some of the usual problems with Smith’s films, but with mixed results.

Belktibia's feature debut comes with compelling sequences as a mother fights against what seems like the entire world, but murky motivations hold one back from getting fully emotionally invested.

Quite frankly, it never hurts for a film to preach the dangers of Nazis and how they can be anywhere and everywhere, but it is a bit of a shame Nuremberg isn’t finding a more compelling, enticing way to tell this inherently fascinating true story.

Tyler Spindel's latest directorial effort might falter when it comes to its approach to physical comedy, but it still deserves some appreciation for what it does well: make you laugh and feel.

An intriguing formal experiment from Steven Soderbergh, focused on two solid performances by Sir Ian McKellen and Michaela Coel.

Road Diary: Bruce Springsteen & The E Street Band is a straightforward yet enjoyable trip with one of the best live bands ever to exist. Yet considering the story that this tour has told so far, it's a bit of a shame that Zimny's documentary doesn't explore the entirety of what this road diary had to offer.

Puzzle Box is a middle-of-the-road found footage film; not great, and not horrible, but it's the characters that make it memorable.

Mr. Crocket is a bloody good time that takes all your favorite childhood television shows and gives them a hellish makeover.

How to Make a Killing is a fun, albeit flawed thriller drama with a mildly dark sense of humor.

Overall, Younus' directorial effort is engaging to an extent, displaying the lengths to which a vulnerable person longing to be understood can go to achieve a sense of belonging.

Ultimately, Kermani's film is not strong enough to be called a complete success. Its lackluster ending and uneven characters weigh it down from potentially becoming a cult hit.

After pushing up against the confines of a conventional musical biopic, it does end up mostly operating within them, hitting all the notes you’d expect it to hit, but that doesn’t mean it doesn’t ring mostly true when it counts.

Performances are the spectacle, and both actors do a tremendous job translating the worst feeling any parent can experience. It all depends on your patience for slow-burn horrors, and if there's enough nightmare fuel to stay along for the ride.

There are no easy answers, and Nuisance Bear presents none of them.

The Greatest Night in Pop is a worthy story in its own right, but a bit more of the director's touch could've done justice to this gigantic achievement of pop music history.

With clever lyrics, punchy tunes, and a committed cast, this is another jewel in the crown of Australian musical films, a worthy watch even for those cynical about such unabashed flights of tuneful fancy.

Despite Lane and Chandler elevating Anniversary with their respective performances, the film doesn't reward its stacked cast with the memorable onscreen moments they each deserve.

For all its visual polish and strong performances, Faces of Death remains caught between commentary and replication. It wants to critique our obsession with violence, but it can’t quite resist indulging in it, too. The result is a film that feels acutely aware of the cultural moment it inhabits, yet strangely hesitant to push beyond it.

Dauberman's film is competent enough that I think it will manage to find an audience who's into an overly traditional take on vampire lore, as well as win over King fans who have been onboard with this tale, in all its incarnations, since day one.

War of the Rohirrim's storytelling woes might mean this isn't the epic return to Middle-earth that many Lord of the Rings fans may have been hoping for, but that's not to say the film's not without merit.

It might not be a future genre classic, but thanks to Courtney's utmost commitment to his villainous role, you'll be glad you dipped your toes in the water by the time the credits roll.

Fréwaka may not achieve everything it sets out to, but it’s still a moving horror story packed with thought and intention — and a much-needed reminder of the lyrical beauty of the Irish language.