After We Collided is riddled with cliches and tired young adult tropes, but its dramatic romance and laughable dialogue offers some escapist fun.

Lumina is an impressively incoherent film.

Jump Shot is an important basketball history lesson, shining a light on one of the game's unsung heroes who deserves more recognition.

The Silencing is a decently exhilarating thriller movie, even if the twists in the story aren't always well-earned or well thought out.

Despite featuring a few well-executed, tense gore sequences towards the end, Smiley Face Killers is mostly uninspiring and makes for a tedious watch.

Breach has its moments of B- movie fun, stemming more from utterly ridiculous execution than a sincere effort to create a gripping space horror.

The Ultimate Playlist of Noise has some lovely and heartwarming moments, but it lacks a strong central relationship and is often too formulaic.

Ultimately, First Blush works as an engaging, compelling exploration of how a change in a relationship can also wake up unresolved personal issues. However, while the first half is incredibly strong, Neumark struggles with bringing it all together in the end by rushing to bring the characters into conflict with one another.

With no buildup, tension, or interesting characters, The Sinners fails in its execution and exploration in the themes it puts forth.

Lacking narratorial depth, convincing characters, and a plausible storyline, Curse of the Blind Dead utterly fails the original tetralogy on all ends.

Rooting itself in nuanced tech-noir, The Tangle unfolds into breathtaking lyrical poetry about human ambition and “the caverns measureless to man.”

It’s a passion project that, while evoking emotion in the wake of grief, could have used some more editing and fine-tuning for a better and smoother journey.

Unevenly paced and with few laughs, Love Spreads fails to tell an engaging story and focuses too much on underdeveloped, unlikable characters.

After We Fell is the pulpy, melodramatic and messy continuation of Tessa and Hardin's story that may appeal to diehard fans, but no one else.

Lair could have been a solid entry in the horror genre had it not been hindered by a muddled narrative and sub-par execution, which only leaves the viewer wishing for something far more substantial than what was given.

Too little attention is granted to Apex’s world-building, and the sci-fi aspect of the film seems more of an afterthought rather than an active factor, making the film a terrible, mediocre letdown.

Despite its potential, A House on the Bayou has nothing new or interesting to offer, with the final twist further undoing the film's scattered charm.

No matter how ridiculous the plot, and no matter how super Christmas-y these films get, Hudgens will remain the steadfast north star.

Sporting skilled choreographed action sequences, Castle Falls offers a mildly satisfying viewing experience despite a weak and muddled storyline.

Mixtape feels familiar and new all at once thanks to its earnest story and central messages of family and grief that will touch viewers of all ages.

A genuinely gritty premise paired with a 90-minute runtime is typically a recipe for success, but The Last Son never becomes the movie it's capable of being.

The film is very pleasant and manages to succeed in what many romantic comedies often fail to do — be entertaining and worth revisiting.

Shaun The Sheep: The Flight Before Christmas is not only funny — it's also surprisingly sweet and touching.

Netflix's The Knight Before Christmas is a perfectly charming holiday rom-com, with plenty of time-travel hijinks and a valiant effort from its stars.

Achoura is by no means a bad film — quite the opposite in fact. There is potential for Selhami’s career as a horror writer-director as his vision and ambition shine bright through his film.

The Kindred is overrun with clichés despite providing some solid concepts, marred completely by a sluggish pace and unconvincing writing.

All in all, The Legend of La Llorona is a kooky movie with more laughs than scares, and is best watched after midnight alongside like-minded friends.

Borrego, written and directed by Jesse Harris, is misguided and fails to be thought-provoking or contemplative on the matters it seems to be about.

Sex Appeal has good intentions and good instincts, but a lack of nuance torpedoes the whole endeavor.

Perhaps if Death of a Telemarketer were 30 minutes shorter, it could’ve made an improvement on its already-threadbare and mirthless plot.

From the completely random consortium of villains and bosses to fight scenes that are at times literally shot backward, a lot is going wrong.

Weaving an unsavory tale about isolation, bullying, and familial dysfunction, Slapface looms like an uncomfortable truth that is too desolate in tone.

The lead performance almost shipwrecks Last Survivors, but director Drew Mylrea (Spy Interventions) is in complete control of his vision. Silverstone and Moyer feel extremely welcome outside their normal roles and should leave audiences wanting more indie genre fare from the duo. The twist alone should keep audiences watching because Last Survivors has got one that isn't worth missing out on.

Conventional choices are thrown out the window and the audience is left with a delightful adventure worth revisiting time and time again.

Not dissimilar from the real world, the scariest part of Student Body is patriarchy and gaslighting, not getting hit in the head with a sledgehammer by the school's mascot.

The Changed is a poorly-executed alien invasion riff-off, bereft of any sci-fi elements worth delving into or relatable characters worth rooting for.

All told, Rescued by Ruby is perhaps not the most revolutionary dog movie audiences are likely to find, but it will certainly do the trick if one is looking for something sweet and inspiring. With little real drama and plenty of adorable puppy shots, Shea's film goes down easy.

Moon Manor is an absolute triumph, one which celebrates life and embraces death while touching upon the bittersweetness of everything that occurs in between.

As it stands, Mundy's earnest but by-the-numbers approach to already lackluster material leaves the movie devoid of any sign of passion or creative spark.

Despite its flaws, it encourages a re-examination of Apartheid South Africa and a closer look at the tiny sparks that lit the flame known as the Free Nelson Mandela campaign and the overall cultural shift against Apartheid.

There is a very entertaining movie somewhere in The Ravine, but it seems to have been left on the editing room floor.

The film is a basic thriller with little to offer audiences who enjoy the genre.

Tankhouse might not be for everyone with its outlandish humor, but if viewers are willing to invest in the absurdity, then it's worth watching. Tomaschoff has clearly created this movie out of respect for anyone who has loved spending time in the theater, and with a game cast ready to shoulder the material, it becomes something very sweet underneath all the quirk.

Deep in the Forest certainly has a point of view, but it is ultimately a meandering slog.

There's nothing worse in horror than predictability and while Unhuman tries to throw some curveballs, it misses the mark more than it hits its target.

While some aspects might feel slight, Tahara is an engrossing coming-of-age tale bolstered by its distinctive visual style and well-matched leads.

There's something comforting about the way in which My Fake Boyfriend doesn't try to reinvent the wheel. It's content living in its charming version of New York where everything works out in the end.

This low-budget sci-fi film is actually doing something quite clever, but by keeping it hidden until the final minutes, it leaves viewers with a character drama that just isn't compelling enough to merit revisiting, even after learning how all its pieces fit together.

Fully engaging with the film, as one might be forced to do in a theatrical setting, will prove unrewarding — both intellectually and emotionally. But it's the kind of movie that's perfect for streaming while doing chores, or to turn on after a long day of work with the intention of putting one's brain on standby.

The film is unsure if wants to be a portrait of a man on the verge, a slasher, or a psychological chamber piece, and it ultimately fails to live up to any of these ideas.

Still, by choosing to play with the conventions of paranormal investigation TV shows and grounding the story in character, the film finds a way to make what it's working with both tense and fun, even if a couple missteps chip away at what is an otherwise effective finale.

Whitebloom struggles to bring the excitement into his heist film, Stowaway, his feature debut, like he’s done in past music videos.

There are some things that Into the Deep does well, but it is ultimately too slight to really commit to any of its interesting ideas. By the time the violence between the three characters ends, one just wishes their conflict had included a bit more flair.

It never digs deep enough which, when looked at through the fairy tale lens, is appropriate, but ultimately seems like a missed opportunity for the film.

Wire Room is a crooked cop action drama that plays out like a low-budget, straight-to-VHS schlock from decades past

Though The Alternate could've been better served by a deeper exploration of its themes and characters, it offers a unique take on a familiar idea.

Sadly, Dig has little to offer audiences other than its magnificent soundtrack.

That familiar question of “am I a good person?” will linger with viewers just as it does the characters, making it a fascinating watching experience as much as it is a good time.

Hatton offers an engaging approach towards his storytelling. By concentrating on the intrigue and horror elements within his feature, the end result isn’t perfect, but there’s plenty of fun to be had throughout to make the watching experience an enjoyable one.

There’s an enormous effort to entertain, but Bromates runs out of ideas faster than it can provide organic laughs.

The film's tone and performances are in lockstep, creating a familiar but effective vibe, making MK Ultra a no-frills thriller reminiscent of classic 70s paranoia.

While the film tends to get repetitive and its comedy doesn’t delve any deeper than it has to, Some Like It Rare is entertaining and darkly funny.

While the drama can be a tense watch, there is something missing in its execution to make it a riveting, suspenseful watch.

Director Gren Wells crafts a tender, yet narratively unbalanced film that accentuates the gift that is Sadie Sink’s talent.

Unfortunately, the film lacks any style, substance, or suspense despite a killer performance from Tom Pelphrey.

Saunders’ feature-length directorial debut is a confident one. With humor and heart, he writes and directs relevant themes and experiences that the world has come to understand well at this point in society. Dotty & Soul is genuine without being preachy, and humorous without leaning into offensive territory.

Freedom’s Path has some hurdles that it just can’t overcome from a narrative standpoint. There’s quite a bit of rose-colored storytelling that goes on throughout this feature. There are also significant pacing issues that make it difficult to lean into the storytelling. With that being said, there’s no denying the underlying heartfelt attempt at sharing profound messages.

In hindsight, MVP is the kind of film that could definitely work for audiences. What it lacks in technical achievement, it undoubtedly makes up with heart. Though Boyer doesn’t necessarily hit the ball out of the park with his debut due to some odd choices that negatively impact the story structure, it’s easy to see why he chose this as his first project

The cast is not the problem, but the script certainly is. The actors are given too much to do and no time to do it. Golden has the right idea, but the execution fails the film's aspirations.

Johnny & Clyde is a chaotic, unamusing mess.

Simulant offers little in the way of great storytelling and is ultimately a visual pleaser, but nothing else.

Fangs Out is not great and hardly promising, but there is an admirable quality to it that you can’t help but embrace.

Bolstered by a moving performance by Jennifer Kim, the film is a slow-burn, character-driven thriller that brings us to question what is real and what is imagined.

What’s ultimately missing from Til Death Do Us Part is proper execution and a script that the actors can build upon.

Overall, Puppy Love is very dull. The movie has all the clichés at its disposal but can't make much of it. The writing is witless and dry, and the directing — by Nick Fabiano and Richard Alan Reid — equally so.

Though there is one climactic heist the film rests on, there are a couple of mini crime sprees that come in the first act that set the tone for the finale. Combined with an absolute masterclass of an action set piece, Smugglers is a movie with a lot on its mind and expresses it in a very entertaining way.

Mimang is exactly the film it sets out to be: Gentle, indirect but never apologetic.

Occasionally intense and always interesting, Sri Asih is certainly worth a watch.

There’s Something in the Barn is a horror comedy that seems destined to be a cult classic. It ultimately delivers on its premise and has a whole lot of fun while doing so.

It’s a film like no other that you’ll see this year, and though not everything works, River is a time loop jaunt that isn’t easy to forget, bolstered by fantastic performances and a deep sense of fun.

Ultimately, this story, likely unfamiliar to the masses, conveys the hidden history behind Miranda Rights with conviction and great storytelling.

Though Decibel boasts loud explosions and a stressful race against the clock, its secret weapon lies in Lee Jong-suk & Cha Eun-woo's emotional scenes.

Desperation Road glimmers with moments of beautiful clarity, but the big picture it paints doesn't live up to the promise of its individual strokes.

It's a fascinating and sympathetic look at the anxiety that can arise and the ways OCD can affect a person's relationships with those they love most.

With a single set repurposed multiple times, Share? makes the most out of a little — metaphorically and literally.

The Shift is a Hallmark movie at best and will do nothing for those who are uninterested in faith-based cinema. As a work of science fiction, it does little to make the audience think.

All in all, Maboroshi is a complete and utter mess of a film. The art, animation, and music are all great, but the story has nothing interesting to say after its first half, and constantly switches between moving too fast and too slow.

The bottom line: even with some inconsistencies, Drugstore June is funny. It creatively approaches a deceptively ambitious setup and doesn't overstay its welcome.

Night Shift blows by characters and sequences on its way to the twist; the movie could have used a little longer runtime.

A story of family expectations, self-realization, and political altercations, Uproar packs an emotional punch while remaining consistently funny.

The film doesn’t always rise to the occasion, and there is some lost potential and a general lack of urgency, but We Were Dangerous’ heart is in the right place, bolstered by a great cast and a strong overall message.

While Hurley’s skill as a filmmaker was in question for the majority of the movie’s runtime, there are around 10 minutes near the end that hint that, with some work, he could hone his skills further.

While The CW’s Arrowverse brought Crisis to life in its own way, the animated version takes things to the next level in an adaptation that is at once sorrowful and thrilling.

Justice League: Crisis on Infinite Earths - Part Two is a disappointing entry, failing to truly and comprehensively build a bridge between the first film and the third film.

As an actor, Bartholomew has a lot riding on her performance, and for the most part, she nails it. Her physicality stands out above all else, as she expertly telegraphs internal changes and anguish to the audience through her body language.

It's commendable that the narrative never tries to explain the magic system of the world or bring up questions of potential paradoxes. However, it equally avoids questions about the nature of consequences. Without any real stakes or time crunch, the story builds and builds, but ends up going nowhere.

The sparsely populated funny moments don't make up for the lack of craftsmanship in the story's journey.

East Bay is the type of movie to be loved and cherished by introspective soul-searchers who maintain their optimism in the face of the soul-crushing nature of modernity.