Admittedly, I Spit on Your Grave is a gruesome, deplorable little exploitation picture that, on the surface, seems to enjoy it's rape sequences just as much, if not more, than the vengeance-filled finale. But on a more subtle level, the film is a surprisingly well-executed revenge story that plays like a brutally raw nerve – a terrifyingly stark view of the real horror of rape, painted by bizarre, skewed cinematography, gory violence, and a keen sense of creeping atmosphere and dread.

The Strangers - Chapter 3 is the weakest entry in a flat and tedious trilogy.

Mads Mikkelsen and Vanessa Hudgens’ on-screen chemistry bring some much-needed heart to Polar’s bloodsoaked story.

Winnie the Pooh: Blood and Honey is noteworthy only for its name, as it turns out that blending slasher blood with Pooh’s honey together is like oil and water: it just doesn’t mix.

If you're in the right mood and watching with others who can appreciate the art of a bad movie, A New Beginning is somewhat of a laugh riot.

Even without the content of 2020 making the film feel even more unpalatable, Netflix's The Last Days of American Crime is a distractingly dull dystopian thriller with drab (and/or extraneous) characters and a squandered premise.

Despite the talents and charisma of its voice cast, The Emoji Movie fails to deliver on any of its intended messages or themes, with a final act that goes back on everything it had originally been trying to say.

Cosmic Sin is an excruciating watch, top to bottom, featuring an absolute mess of camera work, scenes where actors don't interact with one another, and bottom barrel sci-fi leftovers.

Patient Zero never realizes its potential.

The limitations of the animation keep the characters from ever fully emoting, but it’s the script that lets down the rest of the film. In live-action, with a tighter script, this could have been something special. Instead, it’s largely forgettable.

The Babysitter had potential but director McG treats this material like it’s one of the lamer American Pie sequels. The broadness of the humor detracts from the characters and the story and the horror, instead of complementing them.

An unremarkable entry in a cult favorite franchise, Jeepers Creepers 3 offers fans little to get excited about. While the monster still rules its slice of country highway and the skies above it, the rest of the film crashes in the cornfields.

It does a great job of chronicling the amazing accomplishments of one of the best fighters in the world, but beyond that, it’s a lukewarm documentary that stays close to the surface.

Tokyo Ghoul’s live-action movie gets the basics of the series right but is ultimately a shallow version of its source material.

With a sensitive ear for the experiences of its friendly subject, and nothing but sympathy for what he says, Love and Saucers paints a fascinating portrait of a talented and unique person.

Sweet and sincere, Pokémon The Movie: The Power of Us is a light and fun adventure film filled with likable characters, fantastic creatures, and enough classic Pokémon to make the most die hard of fans happy.

A genuine masterpiece of B-movie awesomeness. It's surprisingly imaginative, ambitious and off-the-wall. It's got goofy puppet creatures, it's filled to the brim with nudity and sex, and padded with plenty of gags, gore and graphic violence. It's the stuff of B/C-movie dreams.

My Hero Academia: Two Heroes is an entertaining but inconsequential feature film take on the popular anime.

The last thing a filmmaker wants to hear about their horror movie is that it was boring. Unfortunately, that word best describes Malevolent. Void of scares, its few engaging moments early on – and Celia Imrie’s acting – just aren’t enough to help Malevolent rise above its stilted performances and nonthreatening ghosts.

It's not original in the slightest, it doesn't really connect well with the first film, and it's seasoned with the thinnest characters imaginable. But the film is scary in the right places, delivering pulse-pounding jolts and a freaky narrative. If you like the first two [REC] films or this picture's big brother, check this one out.

I just can't get enough of the mid 60s/70s Disney animation styles. With still rough lines, you actually get to see more of the animator's handiwork as opposed to the perfectly clean lines that you find in today's animated movies.

Netflix's uneven animated Godzilla saga receives an emotionally satisfying conclusion in The Planet Eater.

Reign of the Supermen is a squarely "middle of the pack" addition to DC's ever-growing lineup of animated movies.

I Want to Eat Your Pancreas is a beautiful and moving exploration of what it means to truly live.

While One Piece: Stampede doesn’t leave an impact, story-wise -- there are no great upheavals or shifting of the status quo -- that’s not really the point here. This movie is a celebration of the legacy of One Piece.

Pretending I'm a Superman will inspire you to get back on your board whether in real life or in the game.

There's some tension building that proves effective, but the film is mostly riddled with superfluous characters and pointless scenes.

Justice Society: World War II is an entertaining romp that ranks among DC's best animated movies.