Stream meanders, spending too much time saying so little. Quirks aren’t explained, we’re plopped into a scheme without much catchup, and the entire experience is bloated beyond reason. There’s a tighter edit of Stream somewhere, but it ain’t this version, much to my disappointment.

There are gaps filled with nothing but silence; still, for a no-budget indie, it’s still constructed rather competently.

It's a film with several strong elements, though some issues in the scripting and execution limit its ultimate impact.

Heavier Trip is another gift to metalheads that has me hungry for a third, hopefully with a return to the more renegade nature of their original kitchen-sink odyssey.

It's trying to be a slasher movie so we ultimately have to judge it by those standards. And as a slasher, with its thin plot and flat killer, Haunt Season doesn't cut it.

While it may not be essential viewing for fans of the anime series, there's still more than enough in My Hero Academia: You're Next to keep both longtime fans and eager newcomers intrigued.

Chain Reactions finds the beauty in the despair, and how fine cinematic storytelling isn’t confined to tales of good winning over evil. It’s a love letter to horror, art, influence, and how Tobe Hooper and The Texas Chain Saw Massacre changed cinema forever, whether you can stomach it or not.

Puzzle Box is a middle-of-the-road found footage film; not great, and not horrible, but it's the characters that make it memorable.

Mr. Crocket is a bloody good time that takes all your favorite childhood television shows and gives them a hellish makeover.

None of it would be as effective if we didn’t care about these characters, and thanks to the strong ensemble and precise direction, the film slowly reveals itself to be a film worthy of consideration.

Michael Jai White's million-dollar presence and fancy fighting techniques aren't powerful enough to overcome dull scripting and odd performance choices.

This isn't the scariest zombie movie you'll ever see, and the second act begins to drag as it readies itself for the finale, but if you want a highly original one that makes you feel, Die Alone is flesh worth sinking your teeth into.

All in all, the movie is a series of missed opportunities to create compelling storylines, and it's a shame that it doesn't use anything it presents on the screen to its advantage.

An Almost Christmas Story is a clear homage to the bygone era of holiday storytelling. Its attempt to emulate that era does admittedly lead to some familiar beats, but An Almost Christmas Story has enough charm and personality to make up for that.

A solid performance from Jason Patric does give the film a little bit of extra mileage, but weak action and an utter waste of Sylvester Stallone's talents as both an actor and action star bog the film down in too many issues to count.

Mononoke doesn't just deliver great works of art in every frame. It challenges you to keep up with it.

It's a good adaptation that stays true to the source material, but Chapter 2 still falls short of adaptational greatness.

If Breakup Season has a lesson for us, it is that relationships can end even when we least expect it and that it hurts like hell. It is an odd message to deliver on a date such as Christmas, but even odder is how cozy it feels. The movie is bittersweet, sure, but the sweetness is still there.

If anything else, Abruptio will make you highly uncomfortable, and it's so unnerving that it will give you nightmares. Perhaps that's the whole point of using puppets.

With a lack of any undersea horror action, off-kilter characterization punctuated by poor acting, and a script that is taking itself way more seriously than it has any right to, there’s no enjoyment to be taken from this shameless attempt to capitalize on a lucrative IP.

Horror is beautiful. Horror is dark. Go searching for it and the possibilities of what to watch are endless. In Search of Darkness: 1990–1994 captures it all.

Unfortunately, We Kill Them All doesn't know how to escalate its story beyond its initial premise, fumbling to make this concept work once it has been laid out. While the movie seems to that that less is more, the weaknesses of the film prove that isn't the case with this film.

The movie hangs on the nuances of Cantor's performance, but it never seems to come together.

Freelance gives us a morbid pay-off to the lingering tension that riddles the entire film, while also harmonizing its seemingly separate themes of painstaking freelance work and human brutality.

Dark Nuns doesn't reinvent the wheel. If you're seeking out an exorcism film that's going to shock you and be vastly different from what you've seen before, you're going to be disappointed. But what Dark Nuns does have are two central characters of the like that we don't often see.

Renner lands as a forgettable and tedious watch, made worthwhile only by surprisingly dynamic performances from the small ensemble cast.

Each subject is so rich and nuanced that any single one of them could carry the documentary as its sole focus.

Ultimately, the concept behind The Virgin of the Quarry Lake might have embodied Mariana Enriquez's short stories, but it feels too jumbled and fails to meet its full potential.