“Spring” takes the relationship dissection drama of “500 Days of Summer” and changes the spike of heartbreaking humor to hit with body horror instead.
By the time Renee uncovers the final revelation, attention spans are so worn down that you only care because it means the movie can finally wrap up.
“Tilt” ties a knot of haunting tension in your gut and holds it tightly in place through an inescapable sense of disturbing dread.
If you connected with Benson and Moorhead’s "Resolution" and/or "Spring," then "The Endless" will stoke all the right fires.
I don’t know what people are seeing in supposed subtext. The man who made the movie doesn’t appear to know either.
“A Girl Walks Home Alone at Night” bathes in a pop art lethargy that makes the maudlin melancholy of “Only Lovers Left Alive” look blisteringly kinetic.
“Terror 5” has several bright spots of unflinching frights that work well in their sudden outbursts of brutality.
The script gets carried away with excitedly explaining everything down to details that aren’t pertinent to any premise.
The scariest thing about “Tales from the Hood” is that despite being two decades removed from its 1995 theatrical debut, its subtext is as relevant now as it was then.
The slow smolder of its down-to-earth melodrama puts the film in an uphill battle where it underperforms against more energetic peers.
Damn near indecipherable from beginning to end, the movie celebrates manic madness to the nth degree, precisely as intended.
“Pig” is a rambling exercise in senseless shock value whose predetermined purpose is to be a meaningless movie.
For a PG-13 thriller left to freeze on a January release doorstep, “The Bye Bye Man” is a perfectly passable popcorn production.
Put up against similar thrillers with less simple setups, “Quarries” is missing a hard hook to distinguish itself in the survivalist stalker subgenre.
“The Transfiguration” is an often quiet, often bleak, introspective examination of overcoming hopelessness through humanity.
“Bethany” is simply so bland about everything it rehashes that its lethargic lifeline translates into boredom for the viewer.
“Teen Titans: The Judas Contract” is a solidly entertaining animated adventure mixing topical teen melodrama into its action.
Even though cinematic competency disqualifies “Life” from being ‘bad,’ its formulaic flatness assures indifference as a likely audience response.
The film’s darkly demonic, understated intensity makes it the best John Carpenter movie not actually made by John Carpenter.
“68 Kill” gets away with its gobs of grindhouse grain by slathering scenery in dark humor and switching stereotypes regarding which sex wields the power.