Studio 666 features fun performances by the Foo Fighters, but its “kitchen sink” approach leaves it open to unfavorable comparisons to the movies to which it pays homage.

Black Crab has all the ingredients to grab you and take you on a thrill ride -- and at times it achieves this -- but it suffers partial collapse by the end because of its need to land a little loftier than necessary.

Zach Braff and Gabrielle Union are great pillars here, though the film itself isn't consistent enough with its tone, snapping back and forth between sweet sentiment and cheap gags.

Clocking in at nearly two hours, Peter Strickland’s sound-and-food odyssey Flux Gourmet is only ever alluring when its made-up artform (“sonic catering”) is front and center during surreal vignettes. Otherwise, it falls back on rote observations and explanations about what compels its characters to create — a far less engaging experience than actually witnessing that creation.

Memory is a well-made if uninspired action flick that forges an interesting new take on the genre… then forgets all about it.

More distancing than disgusting, Crimes of the Future strings together great body horror ideas but does little with them.

Corner Office is a just-okay office satire saved by Jon Hamm playing the anti-Jon Hamm.

The Invitation represents everything that makes for a middle-of-the-road vampire experience, but doesn’t deserve to be wholly written off.

While Tilda Swinton and Idris Elba give it their all, neither can save the film from collapsing in the third act. An unconvincing conclusion undermines a far better first half which sees Swinton and Elba waxing philosophical in a hotel room.

There’s social commentary here, but it’s largely incidental. Instead, Armageddon Time stops short of any meaningful statement, spending most of its time admiring the view.

While Beast certainly does little to innovate in the survival thriller genre, it does serve decent fun for fans that want to see Idris Elba fighting a giant, man-hunting lion.

With shades of Get Out, Culture Shock, and The Forever Purge, American Carnage is yet another frightening-enough, albeit bogged-down, tale about how the American Dream is no longer for everyone.

The Munsters is a wholesome labor of love that’s probably for the most diehard sitcom fans because for better and worse, Rob Zombie makes the Munsters reboot he wants to see.

Swallowed is an LGBTQ+ thriller that trades complexity for intimacy over a drug run gone horribly wrong. It's intense and thrilling at the right moments, capitalizing on authentic body horrors.

Unhuman is a good-enough breed of afterschool special horror that succeeds in championing positive messages between sloppier fights with the risen dead.

Real-life tragic romance Spoiler Alert is kneecapped by the plainness of its storytelling, and only marginally saved by its performances.

Bad acting, awful script, glaring continuuity errors-- it's night! It's day! It's night again!-- nightmarish special effects, and the worst sets you've ever seen. It's a chucklefest all the way through.

An otherwise plain film about an unlikely friendship between a returned soldier and a mechanic, Causeway is worth watching for Jennifer Lawrence’s best performance in years.

My Best Friend’s Exorcism is gateway horror that puts storytelling above terror. It’s steady on its 1980s teenage-girl friendship drama, but other elements around the messaging stumble.

Visually, Pixar is in absolutely top form with the creation of Element City and its inhabitants. Unfortunately, the story is way too thin and none of it makes any sense.

The Curse of Bridge Hollow is a mundane introduction to horror, with a bit of charm sprinkled in for good measure.

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.

Missing owes its best moments to learning from 2018’s Searching, but is a bit of a downgrade in terms of Screenlife usage.

While it’s hard not to be moved by footage of Robert Downey’s final days, the film is more informative than emotional. It contains hints of an intimate story, but mostly flattens a strange and exotic career into a series of light observations.

A Man Called Otto is a benign comedy-drama that peppers a heart-wrenching story with plenty of eye-rolling jokes to distract you from its perfectly pedestrian plot.

The horrors of childbirth become entangled in a demonic subplot as Huesera fits neatly into the list of chilling pregnancy horror tales, but doesn’t add much new to it.

The Drop has a great premise about an accident that forces a couple to revisit their relationship and needs, but it never really lives up to its promise.

The Seven Deadly Sins: Grudge of Edinburgh Part 1 is an entertaining return for fans that feels incomplete, even more so for newcomers.