Bloody Hell inexplicably combines two elements that shouldn't work and yet do: high-octane action with a creepy, sadistic family of murderers.

As fun as the film is when it leans into its genre trappings, Touch Me wouldn't be anything without its small-but-superb cast. Olivia Taylor Dudley, largely underutilized beyond her time on The Magicians and with Onyx the Fortuitous and the Talisman of Souls, is transcendent as Joey, easily delivering a career-best performance.

The Last Thing Mary Saw could've been a gripping queer horror about religious oppression, but is sadly limited by its humdrum and unconvincing plot.

It delivers a beautiful and promising dressing before unveiling a largely by-the-book story. It is not bad by any means, but it doesn't push the envelope or explore anything new, either. Slingshot is a pleasant watch, but it doesn't ever rise above that.

The Colony utterly fails as a thriller, and, much like the environment the main character finds herself in, is mostly a slog.

Both amusingly ridiculous and completely by the numbers, The Main Event makes for generally watchable (though very disposable) kid-friendly fluff.

William Tell is a rare movie that I would argue should have been longer. If there's any story that could justify a three-hour runtime, it's William Tell, and the pacing would have benefited from this length enormously.

I Wanna Dance with Somebody celebrates the star that captured the hearts of many fans around the world. And through a great performance by Ackie, this film has the ability to do the same, even if it sticks to genre rules.

Witherspoon and Ferrell play off each other fairly well, but I'm not convinced they have the chemistry necessary to pull off some later developments that I won't spoil here (but honestly, it's easy to guess what it is fairly early on). Throw in some big cameos that really don't go anywhere — the trailer already revealed Peyton Manning, who does nothing — and you get a fit-to-bursting comedy that's only intermittently successful.

It All Came True isn't a typical gangster movie. It's a lighthearted musical comedy that happens to feature a couple of sinister details, like the fact that Humphrey Bogart's character, Chips Maguire, is trying to keep a low profile after committing a murder.

That the film is so admirably sex-positive, especially as it is from the too-often silenced perspective of female pleasure, makes it all the more refreshing.

It's a standard-bearer film, a real fastball down the middle, which hits all of its assumed itinerant emotional beats right on target, without ever really challenging us in any major way.

Death of a Unicorn is incredibly entertaining. It's weird and a bit goofy (in the best way), with a satisfying ending and character interactions that are off the wall.

A great cast and patience will prove only somewhat rewarding, even if the journey to get there is shaky and more than a bit confusing.

With a stellar leading pair who make the most of the screenplay, Darby and the Dead has enough to keep audiences moved and laughing on occasion, though it is unclear whether it can bring viewers back for a rewatch. The only certainty is that Downs and Cravalho are great together and should have the privilege of leading more projects.

Meyers' disjointed approach to Human Capital expertly weaves its story into a gripping mystery that's further elevated by exceptional performances.

The film is far from perfect, but also does not attempt to be. Accents aside, the jokes are solid and don’t require a great plot to land. Quasi won’t blow anyone away, but it has its moments.

While it's far from a refined genre-blending thrill ride, there's enough about Project Power that works to partially offset its fundamental problems.

Fixed is fun while it lasts, more so than you might expect going in. Its most lasting effect on me might be a longing for more traditional, hand-drawn, 2D animation from our major studios, and anyone who might feel similarly shouldn't let this movie pass them by.

It's a fun and intriguing ride that, though it leads to an ending that one might guess is coming, has great energy. Clemons is a charismatic lead who delves fully into her role. When all the puzzle pieces finally come together, the film fires on all cylinders and makes for a magnetic watch.

Taurus plays like a personal project, but that doesn’t make it good. However, Baker should take pride in knowing he has a future in acting; he just needs to pick better projects.

At its core, Cabrini is a feminist story whose bloated 140-minute runtime slightly overstays its welcome, but also packs an emotional punch for those willing to accept its message.

Cleaner is a pretty good reminder of how fun it can be to watch someone with movie star charisma do a Die Hard.

Operation Fortune: Ruse de Guerre is a superficial spy mission that is joyless and charmless.

A Man Called Otto aims to be a crowd-pleasing, heartwarming film, and, despite its many flaws and speed bumps, is a success on that front.

It strikes a good balance between heartfelt and fun, and the cast has great chemistry; their interactions are joyful and dynamic.

Director Vicky Jewson and her stunt team... properly make dance a large part of its central characters' fight sequences, which gives them a very different flavor. However, this only elevates the film so far beyond its fairly underwhelming script.

Trolls World Tour serves up enough psychedelic visuals and positive messages to earn its keep.