Studio 666 is not great but it is gross, at times funny, and essential viewing for Foo Fighters fans. But it isn’t as good as the video for Long Road To Ruin.

No Exit is a gratifying thriller with a stellar lead performance by Liu. It is a concise and impactful piece of work, even when it stumbles in the third act. It is well worth a watch, especially for fans of the single-location thriller subgenre.

Not dissimilar from the real world, the scariest part of Student Body is patriarchy and gaslighting, not getting hit in the head with a sledgehammer by the school's mascot.

The Sky Is Everywhere may be a visual treat, but it's soured by a complete lack of balance in the story structure, characterization, motivation, and pacing.

Despite featuring tense chase and gore sequences that are fairly well-made, Texas Chainsaw Massacre butchers Leatherface's legacy in the dullest of ways.

The filmmaking is very strong, but it's Copley’s performance that sells it.

Conventional choices are thrown out the window and the audience is left with a delightful adventure worth revisiting time and time again.

Ultimately, The Cursed is merely a slow trek through horrific gore, lackluster and confusing werewolf lore, and a muddled understanding of the legacy of the Roma.

Drive My Car is an engaging film that tells an unconventional tale of kinship and self-discovery.

A Banquet is a beautifully made psychological thriller with nuanced performances and a gross hook.

Combining the delightful and the absurd, Strawberry Mansion is a sweet triumph, an ode to imagination, and a manifesto on the wonders of love.

The best action sequence comes at the end, which bolsters the film's best use of camera movement and editing to highlight the fight choreography.

The lingering lesson in all of this is Megan Fox deserves better and Big Gold Brick is a solid turd of a movie.

All in all, Creation Stories is by no means a loss, it's just missing that special ingredient that would transform it into a film worth being excited about. Instead, it could have simply been a spirited documentary narrated by Bremner.

From beginning to end, Hellbender is an impressive, at times shocking, and enthralling triumph.

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.

Uncharted is joyless and has little to no personality.

The only glaring flaw in Alone With You is its rushed final moments and ending, but it is not discordant enough to mar the genuinely uncomfortable scares and taut suspense it generates throughout.

When one thinks The Long Night is walking in circles, it breaks off from the beaten path just in time to give viewers exactly the movie that was sold.

The lead performance almost shipwrecks Last Survivors, but director Drew Mylrea (Spy Interventions) is in complete control of his vision. Silverstone and Moyer feel extremely welcome outside their normal roles and should leave audiences wanting more indie genre fare from the duo. The twist alone should keep audiences watching because Last Survivors has got one that isn't worth missing out on.

Weaving an unsavory tale about isolation, bullying, and familial dysfunction, Slapface looms like an uncomfortable truth that is too desolate in tone.

Crucially, Last Looks' groovy tone allows the viewer to simultaneously try and crack the case while never having to overly invest in the plot.

I Want You Back will definitely make viewers laugh. The film isn’t trying to make anyone cry or be overly dramatic — it simply follows funny performances through the 2022 dating world and lets the audience fill in the blanks.

The film is masterful in exploring the kinetic energy between its leads, even in the most subdued scenes. The Pact is a slow burn, but one feels the heat the whole time.

There is nothing remarkable or special about Blacklight — it's fairly empty, a boilerplate series of dialogue, action, dialogue. However, it is fun to witness Neeson do what he does so well and lose oneself in the thrilling familiarity of hand-to-hand combat and shootouts.

Marry Me could've gone deeper with some aspects and laid off the musical numbers a little bit, but it will still be the perfect movie for anyone looking for some romance this Valentine's Day.

Soderbergh fans and those looking for a slick thriller should be inclined to check KIMI out when they get a chance.

While it might not stand the test of time, the film is an entertaining, easy watch that works well enough.