Gudegast's film feels almost artificially programmed in its adherence to criminal caper tropes, unable to steal our hearts with the bromantic charms of cops and robbers with boundary issues.

If you haven’t feasted on Indonesia’s bounty of recent horror releases, don’t start here. Dancing Village: The Curse Begins is like elevator music in comparison.

All in all, See How They Run is a derivative amalgamation of too much tribute and too little originality. Don’t get me wrong, it’s fun and the perfect film to bring your Nana to, but it's ultimately pretty forgettable.

The budget might have ballooned to ten times what Terrifier had, and the kills have gotten far more gruesome, yet Terrifier 3 is still the same mixed bag that this franchise has always been.

Ultimately, Dìdi's problem is that it is charming but aimless. Izaac Wang is perfectly cast as Chris, and he has amazing chemistry with this cast, but there just isn't enough to go off of. It feels like we're looking into a vignette of someone's life rather than taking in a fully realized story.

It’s moderately entertaining thanks to its VFX but falls short on its performances and story as the overall idea exceeds the final product.

Chaos ensues, dozens of better movies are ripped off, and despite a few fun kills, it leaves you feeling not very much of anything.

Pablo Larraín's Maria is a one-note exploration of another public figure that just makes the same points over and over again.

Englert has talent, and there's ambition and chunks here that work in bits and pieces, but unfortunately, Bad Behaviour is too scattered and too unfocused to add up to much at all.

With more time and focus, Aum could have been the next hit series bought by a streamer, but as it is now, it doesn't dig deep enough and leaves an incomplete narrative about this deadly cult.

Slingshot is more of a murky mystery where the big revelations don't hold up under scrutiny.

The Last Breath is competent to a point, without ever exceeding — or even achieving — baseline aquatic horror standards.

Fixed has the stylish hand-drawn animation that Genndy Tartakovsky is so well-known for, but the juvenile humor feels beneath a filmmaker of his stature.

With a great voice cast, curious characters, and glimpses of an engaging art style, all the movie had to do to be great was rely more on the original things it brings to the DC universe. Instead, DC League of Super-Pets is satisfied being just another commonplace superhero tale.

It’s a generic blend of human drama and otherworldly horrors. Consumed never makes the most of its Wendigo punctuations, whether hampered by budgetary limits or to-the-point scripting that overstays its welcome at nearly 90 minutes.

When it's sexy, violent, or bonkers, it's a wildly enjoyable romp, and lead Sydney Sweeney kills it any time she's allowed to dial emotions up to 10 (as fans of Euphoria or Immaculate can attest to). Was it great? For the majority of its runtime, no. Would I watch the sequel it teases? Yes. Inside you are two wolves, and if they're watching The Housemaid in different parts, the one watching the ending is the happier wolf by far.

Satire is one of the trickiest things to translate from page to screen and White Noise never really cuts as deep as it should because the communication of the jokes is so rushed — via DeLillo’s style that’s quicker to process on the page than it is to export to the screen.

Though Suncoast features wonderful performances, its clichés dim its impact.

The ultimate ambiguity might be enough for some to praise Lin's work, but there's simply not enough to chew on by the end of the story for it to be a resounding success.

What starts as a more violent Mr. and Mrs. Smith takes an unexpectedly brutal turn, becoming borderline unamusing. Taccone pushes himself to try and break from his usual comic mold, but with Over You Dead Body, he ends up pushing too far.

Borderlands is a fun ride, but a bloated cast and breakneck pacing don’t allow it to reach its full potential.

The sluggish pacing and lack of specific characterization make it feel longer than its hour-and-a-half runtime, though the strong performances and beautiful cinematography are just enough to keep it from ever becoming a total slog.

It becomes apparent that the story is trying to do too much, with far too little time to do any of it well.

Godzilla x Kong is a vacuous de-evolution into monster-on-monster action but also arguably the best possible version of that transition. There’s no doubt that this is fairly moronic, but it still manages to be an improvement over what we’ve seen from the last two installments in this cinematic universe.

For as much care and passion that the Hawkes put into Wildcat, the film never knows what it wants to be or even what audience it wants to be speaking to.

Anaconda had the premise and bones to be something really special when it comes to meta remakes. It had a great cast and a surprising amount of heart, but that's simply not enough to save the movie's rough pacing and pointless subplots from the jaws of a giant snake who barely appears on the call sheet.

It’s constantly trying to build its own strange mythology to set up sequels that might never come, cracking jokes that rarely hit, and struggling to decide whether it wants to take itself seriously or be more self-aware about its general absurdity.

If you haven't seen many demon possession movies, or on the opposite spectrum, if you can't get enough of them, Rosario is a decent 90-minute watch. It's not awful, it's not going to insult you, but it's a retread of better movies with every predictable plot point you can imagine.