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.