Site is a movie that's made up of a solid foundation with an interesting concept, ambitious direction, and a talented cast that can't find a way to maintain its better efforts along the way.

While Birthrite had some flaws throughout, Partridge knocked it out of the park in the third act, leaving things on a strong note.

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.

Year of the Fox is a movie far too marred by its narrative missteps to fully embrace its better parts. The dialogue becomes increasingly predictable and mind-numbing, which makes for a very misguided effort.

Trust is a disappointing and lackluster attempt at exploring a tense and important issue.

The haunted object formula actually has some proper stakes, while the imagery proves memorable enough. Yet its clumsy story, bizarre character choices, and awful dubbing turn it into a truly messy affai

It's a B-movie that completely understands what it is, and even if it doesn't get a wide release, it's destined to be a cult classic for both horror and war movie fans.

With a strong, character-focused story and interesting, symbolic elements that tie into its fearful moments, the movie offers a balancing act of commentary about the struggle of dreams.

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

Something only Aztec Batman: Clash of Empires could do is explore the important role that gods play in the story. Yohualli Coatl is the chosen figure of the Aztec bat god Tzinacan. The inclusion of the gods and that mystic origin of the Dark Knight make this story distinct, mysterious, and a treat to slowly unravel.

I can't deny Krawchuk has absolutely improved on some of his missteps from the first film, but in his apparent effort to pull from the success of Terrifier 2, he learned the wrong lessons regarding mythology pacing and crafting a compelling final girl, making this slasher sequel another learning experience rather than a celebration.

Xeno doesn't make any gross missteps, but it doesn't have the juice to stand the test of time.

There’s an emotional resonance that permeates the film and fills your heart with an ache so strong that it’s difficult to walk away without being affected.

If you think you know Ozzy Osbourne, you won't get the complete picture without watching this essential portrait of the rock n' roll god.

Petsch and Scipio are both extremely attractive and breezy performers, but, the film is as sputtery as an old car on the fritz, failing to update its cinematic lineage in any conceivably positive way.

If anything, She Loved Blossoms More isn’t weird enough, holding out on exploring what’s beyond the time machine, which is the most compelling aspect of the film.

The twist is sufficiently tragic, but it is also mawkish. The structure is misguided.

What results is an utter slog from start to finish.

Ultimately, the film is successful in having its cake and eating it too. It is both a tense political thriller and a crackling satire of drunken power. The comedy of the first two-thirds becomes the horror in the last, as these people’s willful ignorance of danger becomes terrifying in its potential repercussions.

The combination of crime film and romantic gothic horror never really gels. It is successful in its invocation of old Hollywood (including a very fun opening credits sequence), and its horror beats are effective, but it doesn't work in total.

Gulner, who has five other writing credits but directs here for the first time, is a sturdy filmmaker with a solid feel for pace and tone. With The Beldham, she has crafted a clever piece of writing whose ending recontextualizes the whole film in a magnetic flash.

Ultimately, the film is far too placid and noncommittal to earn its more moving climax. It's hard to really care about these characters when their stream of decisions seems either improperly motivated or else frustratingly selfish.

Bull Run is so devoid of substance that much of it is taped together with ironic usage of stock photos and archival footage, as if to constantly point at the vapidity of its own enterprise.

Not to put too fine a point on it, but Peas and Carrots is amateur on almost every front, and whatever it has to say about finding one's proper role in society is hidden inside some utterly confounding plot devices.

Though rooted in familiar territory, it lands on an unexpectedly resonant note, blending humor, heartache, and hard-won connection into a conclusion that works marginally better than its formula suggests.

Oxman’s directional choices — such as lingering close-ups — are added benefits that enable us to connect more deeply with its characters. And thanks to some very powerful performances from Bateman and Dillon, this isn’t just a story that invites us to explore the effects of childhood troubles. It reiterates that understanding is all we ever truly want and need from others.

Serious People doesn't deal in cynicism. Its quiet ending wraps things up too tidily, but there's a strange sort of optimism to its idiocy that is quite endearing.

Despite this being a film billed as "samurai versus cannibals," it is actually at its best before the fighting begins.