The strange thing about The Accountant 2 is it's not the same gritty action movie that the original was. O'Connor still delivers some top-notch fight scenes, but this sequel, at its very core, is a hang-out movie, complete with a scene of Affleck awkwardly line-dancing at a bar. Yes, you read that right, and yes, it's as great as it sounds.

Death of a Unicorn is a delight; a clever, sharp-horned, and violent horror-comedy that demands to be seen on the big screen with an audience.

Similar to the original, Another Simple Favor manages to defy your expectations. It's a sequel that never feels hellbent on just repeating the same plot beats as the first. While it does get too cocky in delivering dozens of plot twists, the sexiness and soapiness are still there.

It’s a gory, bonkers action-comedy premise anchored by a set of strong performances and a surprisingly poignant meet-cute, making for a wildly memorable action outing.

If you have been eagerly looking for a mash-up of Parasite and Fresh that fundamentally misunderstands why both films resonated with audiences, by catering to the deeply ingrained xenophobia of the upper class, then Delicious is the film for you.

Morris' strength lies in the interviews he conducts and the narrative he's capable of creating through them. The director is not at all interested in making a straightforward adaptation of O'Neill and Piepenbring's book, instead chatting with many actors involved in the Manson case, from Bugliosi to Manson family member Bobby Beausoleil.

In the Lost Lands could have been an exciting story about witches and werewolves in the post-apocalyptic world, but instead, it's more lifeless than the green-screen backgrounds that consume its runtime.

The Rule of Jenny Pen has a lot going for it. Lithgow and Rush pull off strong performances, the escalation of tension is well-developed regarding the scenes taken as a whole, and the central conceit of the doll is used to strong effect.

Seven Veils is an intense psychodrama, enriched by Seyfried's magnetism and the director's ability to piece together the content of Strauss' opera with the protagonist's repressed memories.

Even though F Marry Kill doesn't quite live up to its potential, it doesn't mean it needs to be buried six-feet-under -- it is more suited to a steamy, giggling one-night-stand.

It may not reinvent the proverbial wheel on the proverbial boat, but Plankton: The Movie is one of the better things to come from the SpongeBob SquarePants IP in recent years that fans should have an easy time falling heads over squeaky boots for.

That story is beyond tragic, but although Queen of the Ring does have some sad moments, it's also a story of unwavering passion. As the final credits roll, you're going to feel a renewed strength thanks to such a powerful icon.

Bong has some cache to make whatever he wants, and he uses this freedom to build a wild and intriguing world that is both humorous and politically charged.

Bloat really doesn’t seem like a movie that knows what it wants to be.

Where the script falls short, Norton and Dunne pick up the slack and carry these characters through to the finish line.

Uppercut, by director Torsten Ruether, benefits from Ving Rhames' strong screen presence, but a lack of believability in both character development and plotting keep the character study from working.

While the documentary of the same name might be able to capture the more human elements better than any adaptation could, the technical marvel of this feature film's underwater sequences is well worth diving into.

Lifeline truly does stand on its own merits for the majority of its runtime, right until the ending that may leave a bittersweet note in your mouth.

Overall, Younus' directorial effort is engaging to an extent, displaying the lengths to which a vulnerable person longing to be understood can go to achieve a sense of belonging.

It's an oddly cobbled-together hodgepodge of ideas and little real inspiration that could have graduated to fun schlock with a little more love.

Set to be released alongside an accompanying documentary and book, this film feels more like a way to peddle Christianity under the guise of good faith, made worse by confusing creative choices and a painful lack of self-awareness.

Those seeking more from their horror experience will discover a hauntingly cerebral and remarkably mature, confident debut.

It's a film that largely rests on an edifice of clichés, contrivances, and ungrounded choices, needing greater development to actually land.

It's a frustratingly one-note experience that boasts technique and potential, ultimately undone by a narrative blandness painted by numbers. Separately, everything works — the plan just never comes together.

Old Guy looks the part of a classic, character-based action-thriller, but, ultimately, the script is far too flimsy for the film to coalesce into something interesting. It's too bad, as Waltz could almost certainly crush in one of these, given the right material.

The very act of filmmaking itself helps Porcelain War battle against those that wish to erase this delicate yet resilient culture.

Once again, Daisy Ridley proves she has the charm and star power to make even the shakiest scripts a thoroughly enjoyable watch. Like Protégé, Cleaner has a lot of compelling storylines, action sequences, and intention, but the execution leaves something to be desired.

Sugar Babies is an intimate look at poverty and the changing of the American dream, but it fails to look deep enough to make the impact it intends to.