The lo-fi horror film "Night's End" tries to combine old-fashioned haunted house chills with more contemporary technological terrors, but never quite figures out how to do that.

Moonshot is the kind of movie that’s frustrating because of what makes it endearing—there’s so much that makes you wish it were more original. No rom-com set in space should feel this ordinary.

The only really surprising—and, therefore, the most disappointing—thing about Morbius is the fact that it’s an honest-to-goodness horror film. But only for a few seconds.

More than an explainer of motives behind a single person mass shooting, Nitram is a character study wrapped in a tone poem, an unpacking of a man who feels like he has run out of all potential paths to happiness and believes that acts of violence spark action.

I doubt How to Survive a Pandemic will alter anyone’s opinion regarding the necessity of vaccines, yet it does pay admirable tribute to the scientists fighting to save the world, including those stubborn earthlings who have no interest in being saved.

7 Days has an overall sweetness that keeps it charismatic for its 85-minute runtime, with an agile directorial eye that makes sure the back-and-forth scenes of them talking have enough life in them.

If this movie and her previous project signal a shift in Watts' career that will be dominated by survival tales that put her at the center of a movie and showcase her doing things that give most viewers a pulled tendon just sitting there in the audience, so much the better.

On an intuitive, sensual level, “Mothering Sunday” is intoxicating. As a story with plot and characters, it’s nothing we haven’t seen before.

The setting plumbs the depths but the movie stays on the surface.

Even if this documentary directed by Lisa Hurwitz had nothing else to recommend it, it would be worthwhile as an excellent source of Mel Brooks.

While “Superior” has a rich style and a couple of intriguing ideas, it ultimately doesn’t add up to much, leaving you with the feeling that you’re watching an inferior homage.

The final sequences are the only "stock" moments in this very specific family drama, and something about the last scene left me cold. But the rest is so effective and emotional, a dedicated portrait of trauma passed down through generations, it doesn't matter.

Ahed's Knee is a fascinating movie that evades most complaints of not having anything to say by showcasing its characters struggling to explain free-floating anxieties that have to do with a lot of things. It's also stylish as hell.

Black folks don’t need the classes in Racism 101 “Master” offers; life gives us PhD’s early on. It’s not for horror fans because it’s a complete failure as a horror movie.

Movies rarely come as chic as The Outfit, a thrifty, continually unpredictable whodunit, fashioned with the same meticulousness found in the bones of a deceptively simple suit.

It’s really a vicious piece of work, a movie made by a filmmaker who is unafraid to see the primal, darker parts that beautiful people hide behind their gorgeous facades. It may not be the comeback that fans of Lyne’s were really hoping for, but it’s a reminder that this kind of movie can still get made today.

If this film were a person, it would tell you it had a Black friend and voted for Obama twice. That’s how insultingly simplistic it is about race.

The gloom is practically enveloping. But, in the end, is it really all about hope? Black Crab is more than sufficiently gripping to make you want to see it through and find out.

The latest Cheaper by the Dozen is worse than formulaic; it is lazy and condescending to its audience.

The film bizarrely takes what could have been a touching and powerful drama about the traumatic family ties that bind (and occasionally choke) and attempts to refit it as a straightforward, if mostly low-key horror exercise chock-full of scenes involving various things popping up out of the darkness with numbing regularity.

The film struggles from scene to scene, incoherently tying elongated and repetitive montages of Guy and Sullivan performing together to hagiographic perspectives explaining how giving Guy is or the brightness of Sullivan’s future.

They’ve shared home movies previously, but this documentary—meaningful in concept, but fleeting in its expression—puts them in close-up, with Gainsbourg behind the camera in her debut.

There’s more atmosphere than plot in the Romanian drama Intregalde, a moody parable that sometimes feels like the Eastern European arthouse response to The Texas Chain Saw Massacre.

Plemons brings such a fascinating energy to his character that he really holds the film together.

Directors and co-writers Adam and Aaron Nee understand exactly what their audience wants—much like a good romance novelist might—and deliver an undeniably charming (and refreshingly IP-free) romantic romp.

What The Seed lacks in profundity or consistent atmosphere it very nearly makes up for in its application of nasty effects and striking makeup.

X is a clever formal experiment, but one that plays like a feature-length joke for horror fans and filmmakers rather than offering a distinct perspective. West conjures nasty fun with a genre enthusiast’s expertise and then doesn't offer much beyond that.

Filled with easter eggs for fans of any facet of Cage's career, the filmmakers don’t place a judgment on which of his films have the most value, understanding that a favorite film is intimate and personal, and that what matters is that it does resonate on some level.