While the stakes don’t feel high, Hamm’s charismatic turn and the consistent stream of high-quality scene partners makes the end product an engaging chuckle-fest of a movie.

As Surrogate delves into murder mystery territory, the films palpable dread wanes. Yet, so strong is Willing’s handle of his material and Morassi’s compelling lead performance, that the after-effects are sure to haunt you long after the credits roll.

A blood-soaked tale of morality and vengeance backed by a hard rocking soundtrack, what 'The Retaliators' lacks in depth, it makes up as a grimy horror thriller sure to appease grindhouse fans.

Triangle of Sadness is a dark delight that has plenty to say on the state of the world we live in.

Spider is a heavy watch, and is guaranteed to haunt you long after you leave the theater.

The Sanderson sisters are devoted to their act but their campy return to Salem is far from bewitching as it tries to find its way amidst a listless plot and the repeated detours down nostalgia lane.

Decision to Leave is a finely crafted film, with stellar performances from Park Hae-il (charming, and perfect as a detective torn between emotions and duty) and Tang Wei (also perfectly cast, lovely with a depth that’s just below the surface).

Anyone going into this film should be aware it is no intellectual exercise. Any capacity for rational thought, beyond guns and ammo, should be left outside until those credits roll. Even though the dialogue is passable in comparison to other films of this genre, those expecting an actioner on par with Aaron Sorkin would do best to avoid it.

Lou is a polished piece of action drama from Netflix and Bad Robot, which gets by on solid performances from Allison Janney and Jurnee Smollett. Combining with a unique score from Nima Fakhrara, this by-the-numbers Netflix release is worth a watch for Janney alone.

There's a lot to like about Olivia Wilde's sundrenched sophomore directorial effort, particularly Florence Pugh's performance, but the story feels uneven.

Despite its shortcomings, 'Meet Cute' takes viewers on a journey through the harsh reality of relationships that they won't soon forget.

In hindsight, irrespective of the solid performances from Cuthbert as Andrea and the headliner, this film suffers from an overabundance of ideas. Leading in short order to a stylistically slick but confusingly over-packed genre mash up.

Keeping in mind that the mantra of Clerks III is to live your life with the knowledge that it is precious, don’t waste it watching Clerks III.

With gripping performances from the Crovetti brothers to keep us intrigued enough to keep us watching until the end, Goodnight Mommy still manages to unmask some thrills — even if the strength of its source material ties it down.

Ultimately, Blonde falls short of the noble goals it sets out for itself. What we get instead is a stunning, surreal nightmare that fails to let Marilyn Monroe be a complicated, full person. Even if it’s packaged well, what you’ll find at the heart of Blonde is something acrid and hollow.

Everything from the acting to the camerawork and the imposing score makes Fall a memorable mark in transcending fiction, making our greatest fears come to life.

If you’re not a big fan of whodunnits, potboilers, or period pieces, then See How They Run isn’t exactly going to convert you. However, if you get on the same wavelength as a deliberately oxymoronic slice of escapism that melds the modern with the classic, the self-aware with the archetypal, and the subtle with the overindulgent, then there’s a distinct possibility you’ll end up with a smile plastered across your face when the lights come up.

The larger-than-life feelings Pearl experiences are brought to life around her through the technicolor-inspired cinematography and shot composition, making for a beautiful, sometimes moving, and delightfully unhinged journey.

House of Darkness leaves audiences with much to consider as the credits roll and blood red titles draw a discreet veil over this contemporary Gothic offering.

Where 'Pinocchio' slips up in selling its magical illusion, it makes up for in honest fun and a surprising self-awareness.

Medieval works best when it throws dirt, mud, blood, and body parts at the screen, with the crunching battle scenes just about overcoming the narrative shortcomings.

Burial leans too heavily on genre convention without adding anything fresh. For that reason, any decent performances which are happening on screen fail to rescue it from mediocrity.

The Invitation aims high, and while it's regularly impressive on a visual and aesthetic level, the storytelling lets the Gothic horror down in the end.

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

Samaritan had the potential to stand out among a crowded pack with Sylvester Stallone as a veteran superhero drawn out of retirement, but it doesn't bring anything new or noteworthy to the table.

Plenty of blood splatter brutality throughout Orphan: First Kill will satisfy gore hounds looking for their next fix. Bell, who previously directed the similarly themed The Boy and grizzly werewolf film Wer, proves to be a deft hand at creating tension without resorting to cheap jump scares.

There is something undeniably romantic about film noir that that makes Neil LaBute’s Out Of The Blue one of his most alluring cinematic concoctions to date.