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

Beverly Hills Cop: Axel ' perfectly recaptures the joy of the original two films and is powered by a joyful Eddie Murphy.

There's Something Wrong With the Children is fine as it is for a casual watch, but it’s painful to watch such a talented cast trying to salvage a bland horror film that had so much potential to be unforgettable.

Everything is glued together by another Dafoe performance that proves he’s one of the greatest actors of all time, especially when given enough room to tap into the lunacy of his characters. In short, Katsoupis managed to craft a crowd pleaser that still has something interesting to say.

There is a good film in here that could be made more present if the story itself was punched up as much as the enemies are. This is unfortunate as every dynamic moment of deadly destruction is undercut by ones that are ultimately uneventful.

Playing out almost like a spoof of various genres with both macabre horror and mumblecore misdirects, it's an odd film that's often as lost as the charming characters themselves before settling into a strange groove that starts to cast a spell of its own.

Midas Man may not go on to become as influential as the individuals it has as its subjects, but it's still a decent enough crowd-pleaser that is safe, entertaining, and just the right amount of twisty and shouty.

With its depth, style, and surprisingly outlandish ending, Night Patrol is the latest feather in Long's mightily-quilled cap.

To anyone interested in the history of film, Champagne includes the earliest known examples of freeze-frame techniques, highlighting how innovative Hitchcock was.

Without Winter in the frame, it lacks direction and oomph, leading the Lost Boys star to carry everything on his foam latex-covered shoulders.

Intriguing moments of animation experimentation and a new batch of characters just aren’t going to be enough to keep this series worthwhile. Right now, Trolls is going in one direction, and it needs to shake it up a bit more to make things in sync again.

Even though the brutality is seemingly never-ending, we never dull to the constant barrage of pain—both physically and emotionally. Yet when Fuqua and Collage aren’t focusing on the cruelty of this world, the film stops dead, lumbering through the motions, complete with derivative choices, characters, and dialogue.

When creative directors are given the chance to take big swings and actually do so, the result can bring about nightmarish experiences unlike anything out there. The glimpses of this in V/H/S/85 serve as a reminder of the value of the series and the visions it can ultimately provide a home for.

Neither wacky enough to be a winning comedy nor clever enough to be a horror sendup, We Have a Ghost is a film that leaves little to grasp onto as it all just ends up slipping through your fingers.

Lilo & Stitch feels like it was made by a boardroom of folks who wanted to sell more Stitch merchandise. Chris Sanders and Maia Kealoha have enough charm to keep families entertained, but it's also hard to deny that these two characters are just as, if not more, endearing in a film you can watch right now on Disney+.

By appealing to the more casual moviegoer without losing the best things she brings to the table, Miller has birthed her best film yet.

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.

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

Landscape with Invisible Hand is certainly a mixed bag that isn’t nearly as tight as Finley’s previous work, but the bold attempt to make something so unique and singular makes this wild story ultimately work.

Director McKay seems to understand that special balance between terror and camp, and it’s that which makes Renfield, which premiered this week at the Overlook Film Festival, such a delight to watch.

Dunham's latest has a particularly game cast, and a solid concept, but Dunham makes this feel like a collection of mismatched ideas and inconsistent characters.

The film's animation is charming, with a quirky, storybook quality to the whole thing that helps the tale feel timeless, even when mentions of the not-so-distant war conjure up images familiar to older audiences.

It's well-acted and not schlocky, but it's one of those presents you open on Christmas, excited to receive it, only to forget about it the next day.

When all the pieces come together, it is a work that proves to be one of the more well-rounded experiences from Rodriguez in quite some time.

A little more full-throated absurdity and humor would've been a great step for the film to take. Ultimately, The Moment is a delightful spotlight for Charli XCX as an actor, and the concept itself finds some playful ways to expand on the lore of of her massively successful album. "brat" is dead. Love live "brat."

Though the themes in Atropia are more subtle than one might hope and expect from a war satire, and the film could benefit from more focus, Hailey Gates successfully draws intriguing parallels between war and the entertainment industry that will have you looking at both in a whole new light.

Brick fails to offer a compelling solution to its central mystery.

The movie isn't reinventing the wheel — it is ultimately a love story that plays with familiar tropes in a beautiful setting. But it does remind audiences why we love these movies in the first place.