Lazareth is sluggish, low-energy, and not particularly suspenseful, but most of all, it squanders a stellar Ashley Judd performance in a period where her silver screen appearances are becoming scarcer and scarcer.

Bionic is another sci-fi dud for Netflix, bringing nothing new to the genre and not much more to its action sequences.

A Part of You is touching and effective without ever veering into emotionally manipulative or exploitative territory, which is not an easy feat when you’re dealing with this subject matter, especially in this genre

I was ready for Kill Your Lover to be a better concept than execution, but that’s not true. Its flaws are apparent, from a forced feature duration to inevitable conclusions, but there’s nothing detrimental enough to ruin an otherwise impressive original horror creation.

It all falls apart as there are no personal touches, character specificities, or horror sensibilities that fill in the many gaps of this hollow script.

Despite a strong central performance from Sasha Luss, Latency works against its own concept and falls into cliché thriller tropes.

Please don’t misinterpret this scathing review as an encouraging push to check out what could be a ridiculously flawed watch with friends. Agent Recon is unwatchable and doesn’t deserve your patronage.

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.

Polished off by a vibrant cast, Annick Blanc’s feature debut is an impressive feat and a refreshing and minimal twist on the “eat the rich” trend in Hollywood.

For a lower-budget actioner, Murder Company is absolutely worth its eighty-six-minute runtime.

The Outlaws is a lean Western tale of paranoia and betrayal that mostly hits the target, but lacks greater all-around development.

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

Nice Days doesn't execute its emotional or comedic beats with the same enthusiasm, but the pulverizations are still bountiful — there's plenty of bruised and bloody aggression to save the day.

We Are Zombies wants to be like Shaun of the Dead and Zombieland, though lacks the cleverness to pull this off.

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.

The dialogue is cringy even by Universal Soldier sequel standards, performances more wooden than Pinocchio, and combat showpieces are a shambles of digital effects that spike not even a tingle of bruised and bloodied excitement.

The Soul Eater is by no means an offense to horror procedurals. Bustillo and Maury are clearly directing someone else’s script (derogatory), but they still smuggle their signature dread-shellacked brand in wherever possible.

If you're in the mood for a good slasher flick that doesn't try and reinvent the genre, then All My Friends Are Dead is a perfect fit!

If this movie-length follow-up proves anything, it's that the team behind the show hasn't lost a step in picking up where the story and these characters left off — but there are also more than enough signs that Wynonna Earp could continue in some form, if everyone is still all in.

The film is indeed reminiscent of other satirical comedy horror flicks of times past, but it still has its own unique soul. And thank goodness it exists in our realm!

The end result is a highly entertaining, highly provocative film that brings the best of a revenge thriller with a boost of a bit of deeper cultural expression.

This is the story of one who stood up, with all his faults and flaws, one whose ideology you may not agree with, but whose capacity to show justifiable rage speaks for those too cowardly to act. It’s here that Pink’s film derives its most impressive impact, and while few may mourn for The Last Republican as both the nation and the world race toward a chaotic, uncertain future, the end result is easily one of the best docs of the year.

In the end, Chapman’s film serves as a portrait of a family rendered in three dimensions, capturing both the strength and human frailties of these individuals in a detailed fashion.

Boong is a rich coming-of-age tale that touches on important issues without ever losing its playful tone or big heart.

Meet the Barbarians provides a light yet engaging look into how communities are built and maintained, and how differing aspects of their identities can form something better when people of disparate backgrounds are brought together.

If the filmmakers behind The Life and Deaths of Christopher Lee can’t even bother to properly honor that legacy by putting in the kind of effort he did, then you’re better off just picking up one of his many Hammer films instead.

Empire Waist features a moving tribute to friendship dressed up in a bright, colorful package.

A fun and frantic vampire film with darkly comic performances amidst its clever life lessons.