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

Krazy House is "krazy" for all the wrong reasons.

If you're a hardcore Hellboy fan, The Crooked Man has enough to keep you engaged. If you're looking for something a little bit more in your dose of Big Red, you might be better off waiting for the next inevitable reboot.

What ultimately weighs it down is the lack of a core narrative to ground the chaos and madness around it. Still, come for the views, the insanity, and Cage giving away a priceless watch for a flat white.

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.

It's a suspenseful family drama that drowns in the location's surroundings, unable to capitalize on its Shyamalanian influences.

With immersive action set pieces, heartfelt snippets of character-driven stories, and fantastic performances all around, Steve McQueen shows again his adept ability at bringing such enormous scope to deeply personal human stories.

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

V/H/S/Beyond falls in the middle of the pack for the franchise. It's not as terrifying as the first film, and nowhere near as bad as V/H/S/Viral. Instead, it's more on par with recent entries.

The film feels like it's making use of storytelling devices and clichés that have been used over and over again in other stories. The end product is something that is serviceable and easy to digest, but also far too familiar, lacking any major innovations.

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.

In the beginning, it feels like this will be a fresh and fun take on all of those masked villains, but sadly, it quickly becomes little more than a paint-by-numbers slasher that forgot what it was trying to be in the opening scene.

As a whole, Devara: Part 1 is a bold and engaging tale marked with a pair of excellent performances by starN.T. Rama Rao, Jr., alongside a bold antagonist outing from Saif Ali Khan.

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

Between picture-in-picture viewers, pop-up ads, reality posing as unreality, and a seconds-long attention span, Baby Invasion is a Reddit thread vision board with little to offer.

Get Away is a deceptive blast that properly exploits vacationer stereotypes to conceal vastly more wicked intentions.

Through its exploration of Navajo culture and life on the reservation, as well as the troubles and beauty of that community, Rez Ball smartly explores dark topics in a way that doesn’t suffocate the underdog story within.

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

Better Man is in a category of successful biopic dramatizations all unto itself.

Dauberman's film is competent enough that I think it will manage to find an audience who's into an overly traditional take on vampire lore, as well as win over King fans who have been onboard with this tale, in all its incarnations, since day one.

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.

It’s artistic, ravenous, and boundless in a way that honors the spirits of the New French Extremity movement. MadS is the kind of horror experience that feels like you’re new to the genre again — and oh what a glorious feeling that is.

The Bibi Files may not be the poison pill that knocks the Netanyahus from power the way that those on screen may be calling for, but it’s still a powerful presentation of the facts without ever devolving into being a mere polemic.

All Shall Be Well is a simple story overflowing with carefully crafted details that raises interesting and little-explored questions about gay rights, how we honor the dead, and how easily selfishness can seep in and poison us out of doing what we know is right.

Elton John: Never Too Late feels like the definitive authorized film biography, and plugs a very important hole in telling his story in honest yet compelling ways.

Malcolm Washington shows himself to be a capable director, expanding this story in the ways he can while staying true to the source material. This cast also knows how to elevate Wilson's words beautifully, whether it's sticking close to a more stagelike performance or bringing new life to this story, as Deadwyler does.

Young Werther isn't a terrible movie by any stretch, but it also feels like it relies far too heavily on your typical romantic-comedy clichés for it to stick out. It's a shame, as Booth and Pill are insanely sweet together, but the execution ultimately feels too unremarkable to be memorable.

Samuel Van Grinsven’s ambient and meandering ghost story is undoubtedly a haunting concept with committed performances and effective elements, but the film just can’t help but overstay its welcome.