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.

Ultimately, Freaky Tales works if you don't look too hard at it. It's a fun time and some of the most extreme scenes will make you forget any plot holes or inconsistencies.

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.

Silver's vision doesn't always work, sometimes feeling like a mishmash of ideas and tones that don't always go well together. But when the film focuses on this central relationship, Between the Temples finds a lovely sweet spot that makes it all sing.

Though Apex's story largely just updates survivor-thriller tropes we've seen many times before, it's effective enough in its repackaging that it's certainly worth firing up on Netflix during a lazy night in. The physicality of Theron's performance, along with the film's vertigo-inducing cinematography, ultimately make Apex an adventure vacation from hell worth taking.

The film plays with a lot of subgenres — locked door mystery, slasher film, haunted house, alongside the obvious vampire story — that it almost seems like Radio Silence couldn’t decide what their favorite was and opted for a taster menu of everything. That works in its favor occasionally, especially since its monstrous little ballerina, surprisingly, takes up so little of its screen time.

Ashley carries the movie, and her talent should be utilized in more romantic comedies. Don't take it too seriously, and you'll have a good time.

The direction that The Carpenter's Son is charting is the right one, as there are some moments of genuine intrigue, and it's not always clear if the titular character is going to fall into the path of the dark side or take on a more noble path. However, Cage's supporting role and the rest of the movie's more meandering moments and subplots, including a rushed ending, prevent it from being heralded as the enduring cult classic that a lot of Cage's other recent hits have become.

A Private Life is worth exploring simply for the performance by Foster, which keeps this story moving the best she can, despite the screenplay’s constant starts and stops. If anything, the real mystery of A Private Life is why we don’t get to see Foster on our screens more these days.

Director Brad Anderson’s Blood is one of the rare vampire movies to focus entirely on the subject of drug addiction, which could make it a refreshing entry to the subgenre. Unfortunately, Blood’s script leans too heavily on tropes. Besides that, Anderson’s competent direction cannot help with Blood’s mixed messages about drug addiction and an ultimately unlikable protagonist.

While Disco Boy is gorgeous to look at, a more coherent script would have done wonders to hold the movie together.

Even with Fiennes and Chastain giving it their all in a manner that makes the story far more engaging than you would expect, they can’t carry it all on their own. The most ambitious and audacious performances in the world can’t overcome storytelling that is otherwise safe to the point of being timid.

It is a thriller that frequently flirts with becoming an out-and-out horror film only to never quite arrive there. The result is a middling work that is occasionally interesting, as we see how it attempts to strike a balance between these two distinct ideas. Regrettably, it ultimately can’t hold itself together when it counts.

Narratives about identity are important, but Elemental lacks the delicate nuance needed to tell these stories.

Despite all its flaws, Door Mouse remains an interesting cinematic experiment. And we must commend Jogia for his devotion to comic book language.

Dicks: The Musical is a decidedly big swing and a genuinely weird take on the musical that has its moments, but also feels a bit stretched too thin given its concept.

Metal Lords ends just when it feels like it’s finding its footing, with its characters taking too much time to address their flaws, leaving the music and the bonds that have been formed via the music, on the back burner for too long.

All The Old Knives attempts to convince its audiences that it is a tawdry game of chess, but in reality, it’s a game of checkers. Pine and Newton are its saving grace, with their performances elevating it just above the waters of drowning in its own self-importance.

It’s truly impressive that Fowler has found a way to integrate the wild world and characters of the Sonic the Hedgehog games into the real world in a way that actually works, but it’s a shame that it comes at the expense of the story of friendship that made the first Sonic the Hedgehog film so charming.

For all the ways Botet and company put their hearts into giving it some life, the film is persistently defined by death of not just its characters, but of creativity itself.

By the end of Hate to Love: Nickelback, it’ll be hard to hate these four guys, and in some ways, that’s sort of the point—putting a human face on a band that is often seen as little more than a meme.