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.

Under Fire is a little rough around the edges, and the story is not unique, but the performers make it special and elevate the material.

The Instigators is proof it can be very difficult to balance action, comedy and drama and nail a tone that fits the movie while still staying true to the genres. That said, the movie does have enough comedy, and a strong enough duo with Damon and Affleck, that it's still entertaining and fun to watch.

It's something of a disappointment that the film, as a whole, fails to live up to Byrne's great work in it. But it's certainly not a bad film.

It may not reach the heights of other great dysfunctional family indies, but the characters are at least engaging enough to watch that the movie isn't a waste of time.

Despite some of the struggles with the moral depictions of the figures, the actors behind Scoop's characters are all mesmerizing in their different roles.

Jenkin doesn't leave the audience without any puzzle pieces; there are enough for multiple stories to be constructed, should the viewer wish to understand Enys Men on that level. At a certain point, however, it becomes so difficult to disentangle the real from the unreal that to try feels pointless, and the last act suffers for it.

The sense of timelessness and the sanctuary (itself a bubble made to burst) add a listlessness to the film that only underscores the constant shifting of the family's foundation. Glasshouse may build to a climax that many can see coming, but that's beside the point. The conclusion plays off what has come before it, feeling like a memory that could have easily been forgotten.

While the film is determined to live in the pain felt and lobbed at its main character, there are moments of gentle vulnerability and contemplation in its exploration of guilt, redemption, grief, and trauma.

As each diatribe utilizes ever-more inventive cursing, the movie increasingly feels like a missed opportunity.

Its sometimes rushed pacing and overstuffed arcs often work against the meaningful messages at the core of the story, particularly the ending, but with enough charming moments and soulful performances from its cast, particularly Bacon and Sedgwick, it really toes the line between being a must-watch and an acceptable skip.

While The Beautiful Game can often feel like a commercial for an admittedly noble cause, the script and performances deliver a relatable human story of dashed dreams and second chances that reminds us why such charities are vital.

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.

Freaked definitely isn't for everyone, and in my opinion it certainly shouldn't be rated PG-13 (who made THAT stupid decision???) but as a "beer and buddies" movie you'll find it funny and, well... weird.

Islands feels less like a destination than a prolonged pause. It’s watchable, occasionally absorbing, but rarely urgent. It’s hard to shake off the feeling that Gerster introduces narrative ideas he has little interest in fully developing.

An intriguing blend of genres and themes, The A-Frame fulfills its promise to excite and entertain even with its mishaps.

The Old Guard 2 is a film that feels longer than it should be and not long enough. It strikes an odd balance, but there’s luckily more here that works than doesn’t, even if the plot is thin.

Unpredictability is Agnes' greatest strength; its genre-hybridity lends a mixed bag of emotions, ultimately emerging as a raw tale about loss.

The Book Club sequel will make you feel as though you’re reuniting with old friends for some wine and life lessons, and that’s enough.

The Midnight Sky is a well-made and ambitious piece of sci-fi filmmaking, but it lacks the proper emotional punch it needed to truly connect.

Going into it, I was ready to love Kara and her story. Though the opening party montage is great (giving us the perfect Gross Girl Summer representation), she sort of blended into the dull, brownish gray background by the end – aside from one moment during the movie's climax, which, frankly, I don't know that it earned. Coming out of Supergirl, I didn't feel invigorated the way I did after Superman. I didn't feel like I understood the character enough. I wasn't even sure if she understood herself.

What A Love Song lacks in execution it more than makes up for in stellar performances and beautifully directed scenes.

As a meat-and-potatoes thriller, Dangerous Animals does get the job done, but if it didn't center Jai Courtney's great serial killer performance, it would have absolutely nothing to recommend it to those who aren't already wholly devoted to watching every single thriller that comes to theaters.

I recognize that saying Zombies 4: Dawn of the Vampires is good at what it's doing hardly counts as a complaint. I would just personally prefer boldly uneven to generically good any day.

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

The movie asks a lot of questions and juggles a lot of ideas, most of them good, but key pieces don't stick their landing - undermining the overall impact of what Novak, clearly, intends to say. A missed opportunity, given that "finding your voice" is one idea that Vengeance spends a lot of time exploring.

The Prom is a bright yet flawed musical extravaganza that, while holding a vital message about acceptance, sometimes gets lost in its own celebrity.

The narrative of Monica is scant, but this makes way for a poignant examination of trans identity and loneliness through the lens of one family.