Miller’s Girl is a stunning debut from Bartlett. The plot is winding and intriguing, with an absolute gut punch of an ending.

A grim and gritty movie, but sardonically funny at the same time.

Writer/director John Kesselman serves up a stylin' live-action spoof that irreverently milks stereotypes and bravely pokes fun at that which is usually sacrosanct.

The entire film seems to be the book’s narrative highlights strung together but rarely spotlights any of the themes or subtext from the book (if there are any). I don’t think this David Lynch film is Lynchian in any way. To me, Dune is a straightforward adventure with very little depth or character motivation outside the genre’s tropes.

Regardless of the poison of choice, I'm always a little miffed when an actor onscreen is supposedly on a specific drug but too lazy to learn what the actual side-effects are.

House Party puts out quite the spread and has put effort into its lights and music. But nothing that happens will give us any inspiration to accept an invite to future festivities.

An overly ambitious guilty pleasure with enough action and violence to keep you interested, it just doesn’t have much else.

You cannot laugh along, MST3K-style, at its awfulness. Instead, you are left numb, dumb and completely baffled at the thorough incoherence and painful lethargy of this endeavor.

Does for psychedelics what "Boogie Nights" does for cocaine; displaying in graphical detail the ultimate failure of drugs as an escape route.

A series of pretentious social commentary punctuated by windows of excellence that only make it more frustrating.

To put it in the best light possible, I recommend thinking of Four Christmases not so much as a really short movie but as a very special holiday episode of a sitcom.

Nothing here is left to the imagination, Pesce running down the list of clichés and ensuring he includes every single one. Once the realization that this is yet another cheap-o retread settles in (about 10 minutes in), the rest becomes agonizingly painful to sit through.

While Shelby Oaks doesn’t necessarily bring anything new to the horror genre, it does just fine with what it has to work with. If you look past the fact that it’s created completely out of pre-existing tropes, you can enjoy the story. It’s made well, the actors are all good, and the cinematography and audio are all done at a high level, especially for a new director’s first film.

Everything in Easter Sunday is played for laughs… crazy family, wacky mob thriller, and lots of cameos. It’s all good, light fun. See it because you’re a fan of Jo Koy or just to get to know a little more about your Filipino brothers and sisters.

It's such a dumb movie, it's hard to believe it wasn't an SNL sketch first.

Works best when it sticks to some of the tenets of successful horror; namely, gore and surprise.

The bottom line is the movie's a mess. Friedkin would like one to believe there's more than meets the eye to his tale of two trackers.

What could have been the most boring, unwatchable crawl-up-your-own-asshole picture instead becomes a gripping, searing portrait of a lost soul trying to find her way through life. Stephanie Bennett is amazing.

It is a deeply powerful story and an enjoyable watching experience. The story is real, the directing subtlety emboldens the emotions, and the two McGregors are excellent. I thoroughly recommend this drama.

Come Away is just a heart-rending, joyful, and gorgeous movie that everyone should take their kids to go see.

If you’re hoping Fatman is an explosive, hog wild bullet storm of Christmas camp, dial back your expectations. There’s always next year. If you’re good, that is.

A welcome return to the raunchy hey-day of comedy, a true guy's film.

What you won’t be able to ignore is the ridiculous way Vantage Point’s brings everything to an end.

What could have explored the real complexities behind a serious issue instead became a self-congratulatory pat on the back for holding a specific viewpoint, and a boring one at that.

Waltzing with Brando never gives Zane the opportunity to go deeper, which makes for a forgettable film and a lost opportunity for what could have been the role of a lifetime.

If you want to make an indie comedy, watch and study Eat Wheaties!

The movie knows what it is, and undoubtedly offers some tense moments, but once the plot contrivances start to stack up, Unhinged becomes too silly for its own good. It leans heavily into the violence to distract, but the flailing story surrounding it.

Shaft attempts to hide its own prejudices by simply acknowledging those issues, without so much as a trace of depth or substance.