McKinnon dives head-first into every imbecilic scene, and Kunis stoically pretends to believe her BFF is sentient. But the movie around them is a wreck, and no amount of cloak-and-dagger will keep that secret for long.

14 Cameras is another pointless exercise that equates sliminess with terror. The film is creepy, all right, but not in a way that proves remotely edifying.

Displaying an amateurishness that undercuts even its more promising elements, Hell Mountain is the sort of instantly forgettable cheapie effort that has become all too prevalent in movie theaters and VOD listings. This one is for hard-core horror movie completists only.

Moving to Charlottesville, Lough puts viewers in the action. We don't talk to journalists or politicians about what happened the weekend Heather D. Heyer was killed; we stand in crowds and watch the events unfold.

Snapshots presents a moving portrait of its central relationship doomed by societal constrictions. The female characters are well-drawn and vibrant, while the men are depicted sympathetically.

Though it’s a series that has seen its day, this swan song should attract genre die-hards with its elegant visuals and some humorously imaginative murders which are the director’s trademark.

The central premise is arresting, as is the style, but there's a lot more that could have been done with it than just show how one ill-defined individual instantly opts to join his country's lowest form of life.

93Queen is rough-hewn technically and, although it includes brief interviews with several other members of the female EMT corps, it would have benefited from a wider focus. But it's excusable that the filmmaker would concentrate so much on her central figure, whose fierce intelligence and indomitable spirit render her truly inspirational.

First-time long-form directors Costantini and Foster, working from a script co-written with Jeffrey Plunkett, demonstrate admirable resourcefulness and empathy approaching their diverse teen subjects.

Thierry is utterly convincing and compelling from first to last, in a deglamorized but sensual performance of tautly controlled severity and uncompromising rigor.

Whereas Aferim! was a thrilling epic that uncovered a piece of Romanian history heretofore largely ignored, Hearts hardly develops a pulse, hiding the faces of the protagonists in immobile medium and wide shots while any possible emotions get snowed under by non-contextualized intellectual musings and socio-politico-historical details.

At a certain point, anyone who reads Bowers’ book or sees this film has to decide whether to believe him or not. At this stage, there is no reason not to; Scotty does not seem remotely like a braggart or someone desperate for a sliver of late-in-life fame.

Although obviously geared to the small fry who will no doubt eat it up, Teen Titans Go! To the Movies will provide many laughs for their adult chaperones as well.

Introducing an indie auteur whose fans are fervent if comparatively few, Steve Mitchell's King Cohen is a low-rent but colorful tribute to the septuagenarian writer-director who horrified audiences with the monster-baby It's Alive franchise.

Partly a visually stunning celebration of nature and partly a record of Diaz’s triumphs and trials, both practical and psychological, Days, which takes its titular cue (and nothing else) from Gabriel Garcia Marquez's One Hundred Years of Solitude, aims at reconsideration of our relationship with nature and our place in it and, despite going overboard on the grandiose drone images, mainly does so in a winningly down-to-earth way.

D’Souza seems too distracted by pyrotechnics to focus on getting believable performances from his cast. By presenting every lengthy fight scene in ultra-slow motion, he needlinessly draws out the film to an endless, nearly three-hour run time.

Sadly, Berk’s stale screenplay simply lacks the heft or depth to lift it above third-hand homage to earlier, better, smarter films.

Okada both wrote and directed Maquia, which showcases her ability to depict complex relationships and project delicate character arcs.

Stiffly scripted and stoically directed, Siberia shamelessly squanders the particular appeal of its charismatic lead and wastes an inordinate amount of screen time going practically nowhere, except undoubtedly right to VOD.

Mystery-wise, the film teases viewers pretty effectively, with plenty of jolts that suggest the boys are on the right track balanced by other signs they're making something out of nothing.... But with a couple of small exceptions, attempts to flesh out the teen characters don't work very well.

The protagonists here aren't as insufferable as those in the first Unfriended, but Susco's plot gets harder to buy by the minute; as a first-time director, he doesn't get much out of his cast; and boy, does this Screenlife gimmick grow thin quickly.

Even though the evil impulses of the villains feel rote and arbitrary, The Equalizer 2 is not without its pleasures.

Parker, a more competent and imaginative director than Mamma Mia!’s stage-show holdover Phyllida Lloyd, likes to assemble the musical numbers in such a way as to recall the very earliest days of pop videos, with snappy editing or Busby Berkeley-style overhead shots of choreography veering on abstraction.

Minding the Gap starts out as one story, suggesting one set of character arcs, and then flows in unexpected directions and underlines new sets of themes, without ever feeling haphazard or ill-considered.

The comedian's latest is as dense with laughs as fans would expect, the quality of the material showing no hint of how many other projects (namely the four feature films that have opened this year and eight reportedly in post) he had going on while writing it.

Even as the narrative becomes more perplexing — as before, realistic masks conceal true identities, characters' actual agendas remain hidden — the fast-moving spectacle unfolds in extraordinary fashion.

Full Mantis gives fans the kind of intimate access more conventional docs often don't manage. Even for viewers who've never heard of the septuagenarian, it's an oddball delight.

Accessible, informative and wryly humorous, the film uses Srbijanka's tastefully decorated residence as a prism through which to view the woman, her turbulent times and the complicated history of the former Yugoslavia.