It's hard to pick out exactly what was supposed to be funny when you take the slapstick away, and it occurs to me finally that Brothers was never actually a comedy at all, it's an indie drama wearing a clown costume for no discernible reason.

As a story of parental reckoning, Goodrich lacks the interrogative instinct of something like Sofia Coppola's On the Rocks, and it rushes Grace's catharsis as a result. But as a story of a man's late-stage awakening, it strikes a more resonant chord.

The film effectively illustrates how hazing is not singularly a university issue.

Even though it doesn’t take its own storyline seriously enough, Smile 2 is entertaining. Don’t expect the horror film to have the best commentary on mental health issues, but be ready for some jump-scare fun.

The film is melancholic and contemplative in a way that isn’t always the case with romance genre films.

Instead of simply marveling at the beauty of the world, Blink invites us to step out of our comfort zone and explore everything the world has to offer.

House of Spoils is an exploration of witchcraft, land, and the respect it should be given, and a study of the perversion and stress of the restaurant industry.

What the documentary lacks in depth it makes up for with style, creativity, and entertainment value.

Terrifier 3 has a real lack of tension that all the sawed-off limbs in the world can't Frankenstein together.

While stellar performances balance out its disappointing attributes, they're not enough to save the movie from being a dull, sometimes plodding story about a mysterious disappearance.

Killer Heat delivers something new and refreshing that deserves to stand out for its creativity and clever storytelling.

Writer-director Simon Hacker has a good grasp on his characters and story, but while Notice to Quit has a spark, it lacks any true heartwarming moments, which are buried beneath a surface-level premise that refuses to engage with vulnerability.

It's clear there were several great ideas in The Radleys, wonderful casting across the board, but the edit leaves much to be desired.

The doting relationship between the couple does some heavy lifting for the film and even in the third act (so conveniently announced by chapter cards that appear throughout Sleep), when things nearly go haywire, their believable bond papers over any horror movie lapses in logic. Yu is also wise enough to primarily put the focus on one half of the couple and Jung delivers.

When a film is trying to tell three stories at once, it’s bound to get tied up in its own narrative misgivings, and Hold Your Breath is certainly culpable of that.

Despite its flaws, the film has plenty of memorable, engaging moments thanks to strong characters and a story that feels true to history while offering some hope along the way.

Whether it’s a big, emotional scene or something comparatively more low key, the animation always does a great job of capturing the humanity of the cast and story, making an already great story even better to go through.

While the movie may never fully overcome its feeling of familiarity, Panettiere and Williams' performances truly ground us throughout the tense ride.

Will & Harper is a beautiful story of friendship and change, with plenty of laughter along the way.

Rez Ball is a wonderful sports drama with a story that is equal parts insightful and inspiring.

Winslet’s got plenty of fire as the titular photographer, but the biopic’s spark quickly fades.

As a vampire movie, Salem's Lot is refreshingly old-school.

The whole thing feels like a slightly wayward, if well-intentioned retread that was created out of the opportunity to answer three very specific mysteries in Rosemary's Baby, but muddled things too much. It's certainly passable, and there are things to admire, but this is nothing on the original.

His Three Daughters is a balancing act. The characters are layered and the story is so simple yet thoroughly touching and, at times, painful to watch because of the flood of emotion that comes through.

Despite sturdy performances, Without Blood doesn’t fully come together.

The true story aspect will leave audiences wanting to dig deeper into the two disparate accounts, but even if they don’t, Howard’s Eden is a compulsory watch that does enough to satisfy.

The Assessment, directed by Fleur Fortuné, is conceptually sound and looks incredible, but while it’s psychologically involved and provoking, it doesn’t go beyond the surface of its ideas.

Structurally, Fitting In isn't perfect. It overuses the montage and features dialogue that leans more into preachy territory than Lindy's natural expression of their feelings. However, it's impossible to accuse the film of being anything less than emotionally truthful.