Alarum is a genuine disappointment, putting a set of strong performers (who do quite well in action-heavy projects) in a situation that could produce memorable, excellent action scenes. It needs extra shine in the script and a stronger directorial vision to do so, which essentially damns the film to action thriller purgatory.

Duchess is a flat and forgettable riff on Guy Ritchie classics that doesn't have an ounce of the wit, charm, or glorious mayhem.

As well-intentioned as the new Children of the Corn might be, it misses the mark by mixing a confusing ecological message with bland scares, forgetting what makes King’s story so enticing in the first place.

Gunslingers can't quite escape feeling like forgettable VOD junk. It does at least try to rise above its standing, and, at times, it comes close to pulling it off.

You won't forget Alan Ritchson. If he can make crap entertaining, imagine him in a comedic role with a much better script

This Strangers trilogy was an ambitious concept that quickly became a disastrous failure that completely misunderstood this series to begin with. Even after all this build-up, this final chapter fizzles out to an underwhelming conclusion of a journey that wasn’t worth taking to begin with.

What could've been a halfway decent dumb idea becomes a full-on nightmare of bad choices and terrible filmmaking.

At the end of it all, it’s unclear if Lumina is anti-aliens, anti-government, or just anti-cinema. If you go into this one expecting genuine thrills and a compelling alien abduction story, you will likely leave the theater confused, disappointed, and wishing you’d spent the past two hours doing … quite literally anything else.

While the humorous heights of both the situation and the people within them can be exaggerated for comedic effect, the conclusion we arrive at is anything but. When we see these people for who they are and the frightening whole they have come, it will leave you shaken to the core because you can recognize just how familiar this all is.

Meta-filled mayhem that plays on some of the corniest and most familiar Star Wars tropes is the perfect piece of cinema for long summer nights.

Contrary to modern fairy tales, Squeal doesn’t have a clear moral lesson, giving the viewer the hard work of reaching their own conclusions. That’s part of what makes Squeal so enticing, as the film allows multiple readings about vile work structures, the possibility of being happy in an abusive relationship, animal abuse, and even the meaning of freedom itself.

The Swearing Jar is a decent idea, but the screenplay and editing draws attention to itself in a way that takes away from the film’s biggest moments—a shame considering these moments could’ve been extremely effective if handled in a slightly different way.

Everything in Jeepers Creepers: Reborn is cringe-inducing to the point that even getting to the credits becomes a chore. And the fact the movie is taking itself seriously only makes everything more painful.

752 Is Not A Number is not only a depiction of one man's grief and search for answers where justice is impossible, but is also one of many prologues in a much longer story about the fight for lasting change.

Dear Zoe has its heart in the right place, but its reliance on creating one too many schmaltzy moments for the characters, and trying to be too many things at once, hold it back from being anything noteworthy.

Blue’s Big City Adventure is a movie aimed at preschoolers that’s also enjoyable for adults, with exciting musical numbers that help break the simple story and explore the street art history of New York City. Add to that nods to the franchise’s past and the return of the original hosts, and you get a movie you won’t mind your children watching over and over again.

While The Leech starts out sturdy yet simple, feeling more like a psychological thriller than anything, when it takes a leap into the full-fledged spectacle of horror, it is worth getting lost in along with the characters.

With This Place Rules, Callaghan has captured who America actually is on a larger canvas, and while the manner in which he paints lessens its impact, who we are underneath it all is where it finds slices of grim truth all the same.

The documentary doesn’t seem interested in expanding the conversation, and getting to the roots of modern society’s issues.

The movie is sensible enough to feature Native American characters and actors and give them some space, but they’re never made a protagonist in their own story.

What hurts Waking Karma more than anything else is the lack of polishing both the screenplay and direction got. And with a little more production time, the movie could have become something more memorable.

It is in its willingness to peer directly through the looking glass that most other science fiction works would blink in the face of where Animalia taps into something that remains as spectacular as it is elusive.

The indie dramedy Who Invited Charlie? washes away any reservations you might have about a movie set in the COVID times and, more importantly, lets Adam Pally show us what he is capable of.

Those willing to overcome its lack of coherence will be rewarded with a wacky story that only genre cinema can offer.

Prom Pact is the perfect choice of flick for you to watch when you’re in the mood for something light and fun. It has an excellent cast, the jokes come easily and never feel forced, and the story is a true celebration of friendship and how you should always do your best to not let your people down – and work hard to apologize if you do. John Hughes would be proud.

Whatever one takes away from it, the final moment of melancholy it taps into is crossed with the joy of seeing a film free itself by eschewing our expectations to just be. It may leave some feeling adrift as a result, but the truth of its emotional experience would demand nothing less.

Citizen Saint treats the sensitive subject with the subtlety it deserves. While some of the answers the movie proposes might be uncomfortable, it still shines for never falling prey to oversimplifications.

Director David Jařab fails to capture the same enthralling energy of Conrad's original story, resulting in an experimental film that too often misses the mark.