Officer Downe is a vicious, violent bit of midnight madness that shoots first, and then shoots again for good measure. No need to ask questions.

Between the split bones and compulsive carnage, a disjointed script, co-written by Stallone and Matthew Cirulnick, makes Rambo: Last Blood mindless and messy.

Categorizing Rings as "horror" would be a disservice to genre films, because at least the lowest of the low attempt a scare here or there.

Me Time has plenty of talent and a potentially interesting hook, but it's quickly drowned in a sea of comic mediocrity.

There isn’t a shred of originality or inventiveness to be found anywhere in the DNA of Midnight in the Switchgrass, but the performances from Fox, Hirsch and Lukas Haas as the unnervingly creepy and very murderous Peter are deserving of much better material. That being said, it’s exactly what you’d expect from a modern era Bruce Willis effort, even if he’s barely in it at all.

A listless cast and a crushingly flat script fail to illuminate the lives of high-wire electrical workers in Life on the Line, which instead resorts to tired story beats and a false sense of self-righteousness.

Collateral Beauty is a Hallmark tear-jerker in the worst way, so out of tune with human emotion that it almost becomes satire.

Underworld: Blood Wars is the kind of mainstream horror I want to champion, but lackluster technical aspects nullify Kate Beckinsale's kick-ass performance.

Max Steel may promise a change of pace from all the Marvel and DC adaptations, but it’s subpar to both those shared universes on every level, telling an origin story that brings little new to the table and a cast that deserves far better.

Ben Browder's follow-up to Bad Kids Go To Hell is less stylized and more generic, even with the same private-school mean streak.

Martyrs is the exact movie we feared it'd be - a forgettable remake of a far more prolific foreign success story.

The Tax Collector flings blood, guts, testosterone and Latinx characters to the wall to see what sticks. And in many ways, it pulls that off, especially when all those things are literally splattered on walls.

From start to finish, Fantasy Island is lacking wicked wonderment and poignant reboot vocality. You'd be best off skipping it.

It lives up - or rather down - to its title, sending its stars on a hedonistic road trip with a pink Mini Cooper's worth of sexist, racist, homophobic and ugly jokes for company.

The Clapper is a sharp combination of sweet romance and biting satire on the cruelties committed in the name of entertainment.

Hellraiser: Judgment is a stuffy police procedural masquerading as a torturous Pinhead franchise entry.

Replicas lacks vigor in its plot, intelligence in its science, depth in its ethics, and humanity all around. It’s a disaster.

It's a shame Silent Hill: Revelation suffers the same doomed fate as most modern horror movies, bumbling through a shockingly disconnected screenplay which strings together moments that could have been salvaged otherwise.

Even those who are deathly afraid of clowns will have trouble finding enjoyable bouts of horror in this survival thriller.

Though it doesn't break any new ground, The Siege of Jadotville is a well-crafted piece of filmmaking that investigates the often-contentious relationship between politics and war.

Fear Inc. wastes a devious idea on a slew of reveals that bring momentum to a crushing halt.

The Windmill is all about kills, but can't generate enough energy to power this derivative, sometimes nonsensical plot.

Plainly put, Last Girl Standing explores a unique horror convention from a fresh angle, but can’t execute when it counts.

The Frontier is a stale film from another era, with an unfortunate story that's about as frail as a tumbleweed.

While there are moments to enjoy in Sugar Mountain, they simply don’t come often enough and by the end, you’ll find yourself struggling to care what happens to any of the characters here.

Despite some impressive visuals and a few good supporting actors, Netflix's Spectral fails to leave an impact.

Though flawed, clunky and a bit Instagram-chic, Go North is an intriguing parable about how the next generation deals with the mess baby boomers have left behind.

Coin Heist is like Ocean's 11 meets The Breakfast Club, but minus the charm, character and ambition.