United States
Murder Mountain is a fascinating insight into unique communities, unexplored lands, and disenfranchised voices – and isn’t that the point of a documentary in the first place?
Writer/director Melissa B. Miller Costanzo’s feature debut touches on the complex nature of relationships with a stunning visual eye, resulting in a thought-provoking journey into the ill-defined nature of transitioning into adulthood.
Blood Bound is a good film to watch if you’re looking for 98-minutes of chuckles and seat-squirming, but you’ll still be abundantly aware that it could’ve been a whole lot more.
The Upside is occasionally funny and charming, but mostly wastes the talent of those involved, becoming a lackluster remake of the French film.
Backtrace is too ridiculous and underwritten to be a full-fledged crime thriller and too self-serious to be an enjoyable B-movie.
The Pinch is occasionally funny, occasionally violent, and occasionally surprising, which makes for a just about passable watch.
All the Devil’s Men is a montage of cheap jokes and even cheaper action sequences, offering nothing new to the espionage genre.
Already considered by many as the worst film of all time, Holmes & Watson is likely to make even the least demanding cinema-goers feel as if they’ve had their intelligence insulted.
While not quite as offensive as Gotti, Speed Kills is just as disposable, with Travolta yet again starring in an incompetent and unimaginative feature.
Anchored by a strong performance from Hermione Corfield, Rust Creek is a deceptively layered thriller that touches upon the horror in being a woman.
A happy accident spit out the low-budget Hollywood machine, Teen Witch is compelling in a way that no individual person could pull off on their own.
As a narrative dive into the complexities of grief, State Like Sleep grazes the surface but doesn’t commit.
Carried by the weight of Willem Dafoe’s performance, At Eternity’s Gate is not a bad film, but it is not an outstanding one either.
There are successful films buried within Bird Box, but it refuses to build any identity as a film beyond its concept.
To call it a complete misfire would be unfair, but The Harrowing promises such supernatural offerings only to deliver a bland, soft-focus thriller with none of the scares.