Greedy People is somewhat tonally amiss, but not long enough for the experience to self-destruct. It's a fine working backward whodunit from the inside out.

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!

Elric Kane's The Dead Thing packs an unsettling tone and real moments of insight into its lean runtime.

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.

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.

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.

While there's a randomizer sense to everything, frights abound, and there's a mercilessness that bites down hard. Execution may slip and slide, but Daniels doesn't waste his first crack at the ghoulishness of this Earth or deep below.

The Union combines action, humor, and heat for a fun, exciting thrill ride fit for your next Netflix watch.

More often than not, Ejiofor bullet points the unfolding events rather than coalescing them into a dramatic arc.

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

Alien Romulus has a promising beginning and end, but the middle gets a bit too muddled in nostalgia for this franchise.

The movie might be called Jackpot!, but no one is leaving this one a winner.

The characters somehow behave both flatly and erratically, driving a cliché plot that manages to be both overly simplistic and confusing. Take care of your skin — and sanity — by sitting this one out.

Watchmen: Chapter 1 is a compelling curiosity, but never matches the power of its source material, and, if anything, should make people turn to the graphic novel instead of checking out yet another adaptation.

Beautifully shot and powerfully told, Sugarcane is a moving tale of resilience in the face of overwhelming injustice.

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

While The Last Front struggles with its stylistic choices and lack of substance, it is still an entirely watchable and almost enjoyable war drama.

Borderlands is a fun ride, but a bloated cast and breakneck pacing don’t allow it to reach its full potential.

Mothers' Instinct is an entertaining, well-acted drama that falters under the weight of its shocking ending.

Shelby Oaks is a promising debut from Chris Stuckmann that’s equal parts eerie and soulful despite some third act shakiness.

'It Ends With Us' is a sensitive depiction of abuse and its performances elevate the adaptation.

There is just enough magic that it discovers by the end to give it a closing spark, but there is a mighty long road to get there, ensuring it all just remains merely okay as opposed to comprehensively good.

Trap is another promising thriller from M. Night Shyamalan, but his filmmaking choices simply can't do this conceit justice.

Thanks to a witty script and a charming cast led by Damon and Affleck, The Instigators is a fun heist film with heart that blends the right dose of humor, action, and emotion for a comedy you can watch again and again.

All through the scattered experience, Page is a shining light. Every move he makes gives the film something greater that it is never able to grasp.

It is a somewhat decent movie hampered by so many preventable oversights and missteps.

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

With Made in England: The Films of Powell and Pressburger, Hinton shows the legacy that films can have and how time can benefit films that don’t receive the recognition they deserve.