There are more misses than connections in the third act, and for its title, it's never really vicious enough despite the blood and gore to come. Still, it'll keep you on your toes as it's cutting off someone else's.

This movie wants to get in, get the job done without complication, and get out before it overstays its welcome. On that front, The Rip is solid enough to earn a mild recommendation.

With beautiful visuals, an interesting plot, and a middle that some might even say makes up for its beginning and ending, Grafted is worth watching and Sasha Rainbow is a horror filmmaker to keep an eye on.

The film does show that Gomes is capable of making an authentic period piece and a stunning documentary, but the attempt of trying to do both at the same time has led to an unusual experiment that will leave one scratching their head.

Like the title character himself, Jay Kelly is a film that has good intentions, but doesn’t have the follow-through to make good on those promises.

With heartfelt and emotional performances by the cast, See You When I See You is a stirring tale about survivor's guilt, grief, and reconnecting in the wake of tragedy. Though the film hits on all emotional notes, there's one crucial setback that holds back an otherwise moving story.

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.

Beyond the ‘90s references, Y2K is an underwhelming, but mostly entertaining movie that never quite goes as far as it should with its concept, comedy, or the relationships between its characters.

Laxe is aiming to shock the audience, and in that, he succeeds, but the final product suffers as a result.

It’s never as deep as it thinks it is (or has the potential to be), but as long as you go in simply wanting a nasty, gorgeous, unhinged ride, you’ll leave the rollercoaster satisfied — and probably a little nauseous, too.

There are successful elements in the script, certainly, but there are also several frustrating moments that simply needed another draft to work the knots out. All that said, it's a successful foray into sci-fi territory thanks to a willingness to stretch the subgenre's established rules, making for a fun murder mystery that keeps audiences guessing.

The Luckiest Man in America is a strong story when it sticks to the facts, and Hauser is undeniably an excellent choice for this role, but the film really presses its luck by taking such huge liberties with the facts.

Holder's wayward romantic indie chases meaning through quiet reflections that navigate hardship somewhat cleanly. While it's a delightful representation of Brooklyn's playground, scenes flow through motions like a wandering observer.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.

Even with striking visuals that offer compelling depth and beauty to Minahan’s overall look, the film’s inability to keep a consistent pace and tone, or even establish its primary focus through its leads undercuts its biggest, most poignant messages.

It works for about half an hour, but its excess of panache eventually gets tiring, and the story's seams are just too frail to hold it together. Still, those dance sequences are really something.

In the moment it works, and despite its flaws, Goodrich is just more proof of how good we've got it that we get to witness an actor like Michael Keaton.

In the end, Chapman’s film serves as a portrait of a family rendered in three dimensions, capturing both the strength and human frailties of these individuals in a detailed fashion.

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

The predictable story would be forgivable if Bad Shabbos' execution of this darkly comedic crime caper had a truly excellent execution.

There’s a lot to like about Seeking Mavis Beacon, and the documentary is at its best when it feels like a celebration and tribute to the technology and its elusive cover model. Overwhelming and chaotic editing choices, however, detract from its overall impact, and what makes the film authentic and special threatens to get drowned out.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

There is just enough magic that it discovers by the end to give it a closing spark, but there is a mighty long road to get there, ensuring it all just remains merely okay as opposed to comprehensively good.

The actors do well working in Manuel’s specific directing style — one that’s characterized by unhurried dialogue — it’s just that the style doesn’t always resonate, tamping some of its power instead of enhancing it. Filipiñana is a feast for the eyes, but you’ll likely still leave hungry due to the punishingly slow pacing.

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.

It may not be the terrifying marvel some Raimi fans are hoping for, but it's still an entertaining enough watch that makes an SOS unnecessary.

Magic Farm starts out promising, and there’s a lot to like when it comes to its performances and visuals, but the underbaked plot keeps it from being fully satisfying.

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