Asking For It is a pop-rock take on the revenge thriller that tries to take a stance, but fails to make a case for why it exists. Asking For It often feels like a mansplaining version of what a modern revenge thriller should be.

The rom-com idea was solid, strong actors like Hale delivered, and chemistry between the leads was there. This can go a decent part of the way, but without more character development, direction, and a clear focus for the film, it's hard to offer much in terms of praise.

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

Leon imbues the film with an uncertain sense of dread, but he doesn’t lead the story or its protagonist anywhere worthwhile. It’s as though the narrative was designed specifically to capture the feeling of being lost in the city and what that might do to someone, but there’s very little exploration of Alina’s interiority for it to be satisfying.

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

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.

None of it works. I'll cut to the quick: The Moment is an unmitigated disaster.

Abraham’s Boys wants to drive home a message about violent legacies and the never-ending cycle of generational trauma, but the payoff feels incongruous with the setup, the final kill feels unearned, and the B-movie execution makes it unintentionally funny.

Caleb Landry Jones, who plays the hopeful hero, is brilliant, but the rest of the cast dulls his performance and turns something with promise hollow.

Weighed down by its inability to fully commit to a story about fathers and lacking a fighting spirit, Rumble is far from being a must-see animation.

The chamber drama of a rich family in collapse is only successful as much as the context within which it exists, and, because that context is as slippery as it is, Anniversary just feels toothless.

With its molasses pacing and bland direction, this film is an absolutely forgettable dud.

The film is unable to sustain any tension and is seemingly afraid of its own potential for violence, despite gesturing toward the creative weapon choice that is practically a bar for entry into the slasher genre.

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

The tonal imbalance and the mismanaged themes make for an extremely uncomfortable watch. However, Dog might find an audience, one that is not so bothered by the lack of depth, and who will tolerate the surface-level insight into the issues it barely touches upon.

The lack of a strong narrative and characters, paired with pacing issues, turn the film from an intriguing premise to a boring, hollow, and overall tedious watch.

Madres is extremely fragmented and painfully subpar, wasting a chance to tell an intriguing, nuanced story that is still an issue in the present.

Unlike the comedy, Ungar does know how to shoot action decently well, and it's in those scenes when the film momentarily comes alive.

In the end, Waltzing with Brando will leave you with more questions about the man than you probably had going into it, which would be interesting enough if Fishman leaned harder into the murky waters of this particular celebrity's mythology. But, like the land upon which Judge tries to build an island escape, the film is in a constant state of drowning under its own ambition.

This shocking horror comedy is a train wreck that you can’t look away from. Whether the filmmakers intended this to be the case is a question on its own, but I’m sure Krazy House will acquire a following.

Die in a Gunfight is utterly empty, with poorly developed characters, clunky dialogue, and a disingenuous romance that attempts to be epic in nature.

Dangerous is an action movie with a unique premise, but its poor writing, stiff acting, and lack of charm make the 2021 movie borderline unwatchable.

On a Wing and a Prayer will certainly find its audience and pays respect to a man who did the impossible, but as a viewing experience, it misses the mark at every turn.

Red Sonja falls short of expectations from beginning to end; it only succeeds in following in the footsteps of the 1985 flop.

The revelations of the film, once they come, are admittedly disturbing. But the route to get there is paved with blandness and awkward acting.

Perhaps the lesson of the film is that regret is a waste of emotional bandwidth, but regret is easy to feel when the story is a fumbled as this.

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

The Addams Family 2 is a shallow continuation that spends too much time on unconnected hijinks, resulting in an uneven sequel with much less heart.