It’s an odd “rock and a hard place” production about survival of the fittest mentalities that can’t help but indulge soapy relationship dramatics amidst an otherwise dire entrapment, which will probably leave most laughing and irritated at the wrong times.

Overall, Creeps is witty, it's scary, it's gory, and it includes a number of one-liners that many film-fans still quote today, though none will ever be as memorable as: "The good news is…your dates are here. The bad news is…they're dead."

Free Guy delivers a first hour that is outrageously entertaining, stuffed with gonzo action, goofy gags, star power, big ideas, and plenty of Easter Eggs for lovers of movies and video games. However, in its second half, the joyful journey is derailed by a slog of a side quest, falling short of the potential set-up.

While Mighty Morphin Power Rangers: Once and Always has a deeply emotional story at its center and plenty of fun nostalgic moments to enjoy during its one-hour runtime, it’s hard to shake the feeling that this special needed better effects and dialogue to make it truly Morphenomenal.

Its few hints of flair may not cement it as a genre classic, but they’re enough to make it momentarily fun.

Annabelle: Creation is the rare horror sequel that improves upon the original, featuring more engaging protagonists and a far less problematic ending.

The King is a relevant reshaping of Shakespeare's Henry V featuring a stunning turn by Timothée Chalamet.

A Glitch In The Matrix is a solid sibling to Room 237 and The Nightmare. Once more, Ascher offers an empathetic space to conspiracy theorists and dreamers, creating a superb setting for honesty, earnestness, and vulnerability. Employing keen editing, he illustrates their arguments with pop culture references and panache. However, he also offers the shadow of a doubt, allowing the viewer a safe space to question.

Sick is exceptionally paced and provides slasher thrills with breakneck intensity, but loses traction during a wobbly landing that needlessly overcomplicates an otherwise cutthroat thrill ride.

Abigail is a hilariously gory romp that banks on a memorable ensemble cast and a witty screenplay that invigorates vampire tropes with a refreshing drollness.

Grafted makes a patchwork of its ideas but manages to be an entertaining, mindful, gore-saturated charge through social hell.

The Rental boats a strong cast, an intriguing set up, and a compelling mystery. It's a fun and feisty web of lies and deception with the added bonus of having a shadowy, stalking presence surrounding everything and everyone like a God-hand. It's a small film, but it's tense, dense, and delivers a harrowing final act.

While it sometimes leans too heavily on its ickier aspects, Cuckoo has just enough sense of its own absurdity to remain disgustingly fun.

The Monkey is one of the best horror-comedies (and Stephen King adaptations) in recent memory, exploding off the screen with both gory kills and big laughs.

With Apostle, Gareth Evans has proven he can not only master action films with stunning choreography, but he can also deliver a bone-chilling folk horror tale rich in mythology and shocking in violence. Apostle owes a lot to classic folk horror films, but Evans manages to make his film feel fresh and gripping enough to satisfy even the most blood-thirsty horror fan.

The live-action How to Train Your Dragon can feel hemmed in by its faithfulness to the animated original, but it’s re-creating that film’s sense of heart and soul as well as its entire plot and most enduring images.

Copshop is meaningfully and enjoyably derivative as a patchwork homage to '70s shoot-em-up cinema (even Spaghetti Westerns), but it never quite reaches its potential.

First Blood is not the Rambo movie we initially think of when the character is mentioned. No, it’s much better than that.

Good Fortune is a witty, warm, celestial comedy of errors that splendidly blends the wry world of the Frat Pack with the dopiness of Bill & Ted. It's got great performances -- including a devilishly angelic one from Keanu Reeves -- and offers a fresh, funny look at modern hardships.

Directed by Barry Levinson (this was his sophomore theatrical feature following Diner), the film is quite moving. Redford delivers a great, soft-spoken, naturalistic performance and he's paired with a solid all-star cast. Randy Newman's score is absolutely terrific, too. One of the best he's ever done.

Great stuff, if you can stomach the dated look and content.

While Vanishing Point isn't the ultimate car chase movie as Tarantino would make you believe, it's certainly layered with fascinating subtext and few decent chase elements to keep action fans at bay.

A movie that takes a while to get going, but once everything starts to come together you end up having a good time. If you're into detective films or are just looking for something atmospheric, then Hammett is a safe bet for a quiet night of mystery and intrigue.

Kate Hudson and Hugh Jackman’s performances are a treat in Song Sung Blue. They sing and perform their hearts out, but none of it ends up in service to a coherent vision, let alone one that says something meaningful or profound.

Avatar: Fire and Ash isn’t the technical leap forward that its predecessor was, which is to be expected after three years instead of thirteen. But what it lacks in novelty, it more than makes up for with refinement on every level.

Triple Frontier features a cool cast and a gruesome story about greed, but it fails to capitalize on its own premise.

From the sincerity of the lead performances to the cartoonish gore offered by Werewolves Within director Josh Rubenn. There are much worse ways to spend Valentine’s Day than a genre cocktail for saps and gorehounds alike.

The Return of The Pink Panther is so devoid of life that NASA wouldn't bother to send probes to investigate it.