Horror is beautiful. Horror is dark. Go searching for it and the possibilities of what to watch are endless. In Search of Darkness: 1990–1994 captures it all.

Unfortunately, We Kill Them All doesn't know how to escalate its story beyond its initial premise, fumbling to make this concept work once it has been laid out. While the movie seems to that that less is more, the weaknesses of the film prove that isn't the case with this film.

The movie hangs on the nuances of Cantor's performance, but it never seems to come together.

Freelance gives us a morbid pay-off to the lingering tension that riddles the entire film, while also harmonizing its seemingly separate themes of painstaking freelance work and human brutality.

Dark Nuns doesn't reinvent the wheel. If you're seeking out an exorcism film that's going to shock you and be vastly different from what you've seen before, you're going to be disappointed. But what Dark Nuns does have are two central characters of the like that we don't often see.

Renner lands as a forgettable and tedious watch, made worthwhile only by surprisingly dynamic performances from the small ensemble cast.

Each subject is so rich and nuanced that any single one of them could carry the documentary as its sole focus.

Ultimately, the concept behind The Virgin of the Quarry Lake might have embodied Mariana Enriquez's short stories, but it feels too jumbled and fails to meet its full potential.

Sugar Babies is an intimate look at poverty and the changing of the American dream, but it fails to look deep enough to make the impact it intends to.

Those seeking more from their horror experience will discover a hauntingly cerebral and remarkably mature, confident debut.

Set to be released alongside an accompanying documentary and book, this film feels more like a way to peddle Christianity under the guise of good faith, made worse by confusing creative choices and a painful lack of self-awareness.

It's an oddly cobbled-together hodgepodge of ideas and little real inspiration that could have graduated to fun schlock with a little more love.

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.

Lifeline truly does stand on its own merits for the majority of its runtime, right until the ending that may leave a bittersweet note in your mouth.

Uppercut, by director Torsten Ruether, benefits from Ving Rhames' strong screen presence, but a lack of believability in both character development and plotting keep the character study from working.

Even though F Marry Kill doesn't quite live up to its potential, it doesn't mean it needs to be buried six-feet-under -- it is more suited to a steamy, giggling one-night-stand.

If you have been eagerly looking for a mash-up of Parasite and Fresh that fundamentally misunderstands why both films resonated with audiences, by catering to the deeply ingrained xenophobia of the upper class, then Delicious is the film for you.

The Devil And The Daylong Brothers is brimming with potential. It's not afraid to take some risks, which is more than you can say for over half of the movies that get released every year. Its only setback is that it puts its style ahead of character development.

LifeHack is a captivating, exhilarating, and full-speed heist thriller that marks one hell of a feature debut.

Not only will you get to revisit old favorites and feelings, but you’ll be taken to places you’ve never been before. Thus is the power of music and the magnificent, inimitable Hans Zimmer.

Bloody Axe Wound may not be a satirical masterpiece, a profound coming-of-age work or a belly-aching comedy, but its surface is shiny enough to guarantee a bloody good time while watching it -- just don't bite the blade any deeper.

It’s a clever reinvention of commonly distraught themes, teaching an old dog new tricks with a dreadfully cosmic twist.

There’s a fascinating movie to be made about this period and these characters, but Ott's telling is simply not up to the task.

It Ends takes viewers for a terrifying ride in unexpected ways.

The Australian film has no pretense of being realistic, which is why it is so easy to buy into, allowing us to enjoy this unabashed romp into toxic family dynamics, seizing the glory days and (twisted) sexual repression.

Group Therapy recognizes that mental health journeys are as complex as the eclectic group at its center, and in managing to communicate this with the same kind of easy storytelling as the best comedy movies, it becomes one of the most important discussions of mental health that viewers can watch today.

Bryce Dallas Howard imbues Pets with so much heart that it transcends from a pleasant fluff piece to an honest and thought-provoking look at life and loss... while still being pretty damn cute.

There's definite potential in Andy Edwards. He needs to up the camp and spend a little longer at the drawing board, streamlining his vision and considering what he wants to do with his next project. Whatever it ends up being, I look forward to seeing it.

A Goofy Movie remains an understated film in the Disney animated film canon, and Not Just a Goof wonderfully reminds us why this is a film that deserves far more attention than it ever received.

This documentary combines stunning visuals, an important message, and, of course, a precious protagonist to tell a powerful story of friendship, healing, and love.

Mob Cops has an interesting true story at its heart, and a talented central cast to convey it, but there are self-imposed limitations baked into its core. There may have been a great movie here, but it simply doesn't achieve that potential.

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.

Striking Rescue follows familiar beats, but there are enough twists and solid performances to land it well, while the action sequences are delivered with Jaa's characteristic uncompromising intensity.

With everybody understanding the assignment, Bears on a Ship is truly one of those movies you can relax and have fun with.

Although Off the Record is well-intentioned, it misses more beats than not.

It's a cluttered mess of a movie that should have scaled back, stuck to the basics, and delivered what we were all hoping for: over-the-top ratty carnage.

Eubank's direction has a tenderness for its characters and for the little worlds they build around themselves, bursting full of hopes and dreams that we really want to see them achieve.

Lilly becomes a chiseled-down Wikipedia summary version of a life, dipping in here and there to show you the big moments, but in the process, characterization and emotion are stripped away.

Where Wick Is Pain takes things a step further is with a deep dive into the difficulties of making a movie in general, not just a big flashy neon-laced action flick.

Far more thoughtful and provocative than your average action-adventure, The Old Woman With the Knife is a thrilling update to the genre, leaving us with a hole in our hearts as the credits roll.

The ensemble is the main reason why the film has its delightful instances, especially when it comes to the scenes in which He, Ka-Yan Lam, and Chau are featured. But, ultimately, the script lacks the originality or the character development necessary to give its multiple couples their ideal sendoffs.

It's a film that you start desperately wanting to like, perhaps because it deceives you into believing it is something other than a violent power fantasy. As the film comes to a close, all that is left is a sour taste in your mouth.

It's not a perfect horror movie, but it has all the right ingredients and is such a great way for someone who enjoys the rougher things in life to spend 90 minutes.

A Widow's Game sets out to be an intriguing portrayal of a high-profile case but doesn't really hit the mark.

Yes, Dan Da Dan: Evil Eye is not a movie, and those who buy their tickets in search of a fully fleshed-out motion picture will certainly be disappointed. But if you know what to expect from it, Dan Da Dan: Evil Eye is nothing but an entertaining ride from start to finish.

Diablo brings the action, but the movie gets tripped up by a villain who doesn't quite fit the story.

This is a truly immersive experience that makes the best use of every element of filmmaking, and it all comes together to create a uniquely chilling horror.

Don't Tell Larry feels like it really should have been a half-hour episode of a television sitcom rather than a movie.

It does slightly fall off in its final act, becoming aimless and stretched, and ending around 30 minutes after it should. But its first two acts are deeply enthralling, and Vicky Krieps' lead performance is an Odyssean tour de force.

Disney Channel's latest sequel has all the bells and whistles, but not much in the way of substance.

Ultimately, Skillhouse boils down to a bunch of stuff that just happens to characters we don't care about, who make choices that don't make sense for reasons that aren't well grounded, in a place that's poorly shot, in order to say things that have been better said elsewhere.

A messy, confusing and thoroughly unengaging experiment, with the kernel of a good idea underneath.

A scathing documentary about the price of fame and honest artistry.

An eerie, well-acted stroll along the well-trodden path of pregnancy horror.

It's a relentless ghost train of a movie that blinds you with its color, deafens you with its chaos, and pushes you to hysterics with its overabundance of silly, splatter-filled action.

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

Trust does a great job of showing what Turner is capable of. The problem is everything around her. Pardon the pun, but it takes an interesting premise and doesn't trust itself to craft a compelling story with interesting characters around it.

It’s a totally pointless pursuit that has no interest in interrogating why A Serbian Film came into existence, only how. An 80-minute behind-the-scenes promotional featurette for a film that, even after an entire documentary devoted to defending its existence, still feels completely meaningless.

Rainn Wilson gives one of his best performances in this compelling action comedy.

Whimsical in concept but hollow in execution, Eternal Return drifts aimlessly despite Naomi Scott's glow.

A short runtime kills any character development and tension.

If a movie is going to give us a man reuniting with his dad and them coming to love each other, then it needs to give them the freedom to really hash it out and explore the consequences of their estrangement. Looking Through Water only skims the surface.

This is a movie made perfectly for those viewers who are somewhere between childhood and adulthood, and it understands them. It throws just enough of life's nastiness at them without making it too overwhelming or hopeless, and it has a real comprehension of how teens often feel: misunderstood and unsupported by those around them, but not in that stereotypical "get outta my room, Mom!" way.

Night of the Reaper succeeds in Christensen's goal of bringing something new to the horror genre, and keeps the audience engaged, mystified, and on the edge of their seats.

For Rocky fans, this is a brilliant chronicle of the history of a perfect show, with plenty of the humor, heart, and zest for life you'd expect. In a broader sense, it is a fascinating examination of cultural lightning in a bottle, how to exploit it, and which pitfalls to avoid.

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.

The sci-fi thriller certainly has some bumps along the road, but a dedicated performance from Jessica Rothe helps amplify it into an intriguing ride that cleverly showcases the actor's impressive range.

If you're looking for a narrative and humor that matches the heights of the first movie, you'll likely walk away disappointed in how it takes such a hard pivot towards mean-spirited and juvenile attempts at shock value, leaving the heart and relatable stakes of the original completely in the dust.

Appofeniacs may not be packed to the brim with wacky action scenes and tense horror sequences, but when those moments do come along, they're executed with great finesse from behind the cameras.

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 is fun to be had here, but it's spread too thin in a movie where even 90 minutes is too long.

Pitfall doesn't reinvent the wheel or drastically change the game, but it deserves credit for being a crowd-pleasing slasher.

There is a lot that the movie does so right, which is why its various faux pas feel that much more disappointing, but this is far from an overall failure. It's a sign of great things to come from Williams and from The Horror Section.

It's flat characters on an unfinished stage, rehearsing a bad script, with no weight behind any of the odd choices and filming techniques. It wants to be a movie, but it doesn't know how. Just stay on your horse and ride past this one.

The movie is full of trees, lights, snow, and all the aesthetic trimmings of a Christmas movie, but there's a coziness behind all the seasonal artifice that radiates from the screen, and that, surely, can only be down to the right combination of people having a whale of a time together.

Trap House is a fun enough time worth watching, but it traps its star and doesn't let him out.

A Very Jonas Christmas Movie is utterly enjoyable, giving fans a handful of new tracks to set the tone for the end-of-year festivities.

Ultimately, My Secret Santa feels like one of the more forgettable Christmas movies of the year. It is not funny or wacky enough to appeal to kids the way Doubtfire does, and it isn't charming or thoughtful enough to appeal to adults.

It settles into a steady rhythm by the halfway point, and goes against the grain of your average survival thriller by emphasizing just how brutal and unfeeling nature is, regardless of how big and strong you are.

Although the concept of making a thriller that examines somnambulism seems quite captivating, Sleepwalker doesn't effectively incorporate this complex disorder into its premise, resulting in a puzzling story about a woman going on a spiral without any healing prospect.

The overall result is a wonderfully emotional and poignant documentary that is a must-watch for aspiring actors or anybody interested in the acting process who wants to see just how much it impacts somebody's personal life.

The Best Summer takes the audience on a summer road trip with some of the biggest musicians of the '90s, and it's a blast to be along for the ride. Davis' collection of videotapes makes this feel like we're coming across a collection of private moments, rather than a concert documentary.

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.

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.

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.

As it stands, Vampires of the Velvet Lounge is exactly what it seems to be: a messy, mildly entertaining vampire movie that works best when you’re only half watching it.

Sender wants to put us in the perspective of an addict, but instead, it always leaves the audience feeling like it’s missing something, not quite in step with what the film is trying to express. Goldman has a lot on his mind, but Sender sometimes feels like when you have too many ideas, and you try to say them all at once, but it comes out garbled and confusing.

The Sun Never Sets is a charming take on the love triangle and a strong return to movies for Swanberg. The mixture of Fanning, Johnson, and Smith works well, and this romance is handled quite nicely without becoming frustrating with all its relationship back-and-forths.