John Wick and James Bond have met their match, as there hasn’t been an action heroine this explosive since “Kill Bill.”

These unlikely potpourri pieces work in concert to create a unique motion picture that is funny, sweet, smart, sly, and sometimes even savage.

Jack Roth’s motormouth and mannerisms suit Danny’s dangerous disposition to a T, and alone are enough to make the movie a worthwhile watch.

“Prevenge” is unique among humorous horror films for having a pregnant protagonist and a cheeky angle on what that entails when she is also the antagonist.

Once “Game of Death” gets its premise off the ground, it turns into a wickedly gruesome ride that is miles more entertaining than its obnoxious opening.

“Freehold” simmers its ramp-up with a prolonged pace that is sleepy, though its low-humming humor grows more infectious in the meanwhile.

“The Honor Farm” is like Richard Linklater and David Lynch collaborated on a tribute to John Hughes in the context of a horror movie.

“The Belko Experiment” moves terrifically and its tension is tight, yet there is a Chinese food effect leaving stomachs rumbling after end credits roll.

For fans of Dominic Monaghan and/or Sarah Habel, “Atomica” has a better hook, because there is a lot, and I do mean a lot, of these two actors onscreen.

“The Dark Below” doesn’t struggle to be intriguing, though it does struggle to expand that intrigue to feature length.

There is enough initial intrigue to “Friend Request” to keep it a notch above average as “Single White Female” for a social media age with a supernatural twist.

When rush job restrictions are taken into account with “Son of Kong,” it’s easier to forgive the departure in tone and dip in quality as necessary evils.

This dated grade of retro cinema style makes the movie a terrific time capsule of everything endearing about cheesy 1980s horror.

It’s the kind of honest indie effort no critic delights in dissuading someone from seeing because its intentions are obviously good.

The movie makes sure to showcase Kong with every ounce of mammoth majesty the mighty king so rightfully deserves.

“Ghosts of Darkness” is standard spookshow stuff. Execution does all it can to be interesting. It's simply the script that only tries half as hard.

If you can get past the choppy CGI and get into the slowly smoldering mood, “The Creature Below” can be oddly intoxicating.

If your face isn’t immediately locked in an ear-to-ear Joker grin, your nostalgia meter is improperly tuned to feel the full effect of the film’s fun factor.

“Needlestick” is kind of like “Frankenstein” reimagined as a slasher film. That analogy sounds cooler in concept than it comes across in this case.

“Get Out” is an impeccable balance of self-aware satire, subtext, and suspense, and the viewer is invited to fashion a personally tailored experience.