United States
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.
The Mule is a worthy callback to Clint Eastwood’s career, playing a 90-year-old drug mule that hopes to make up for his past shortcomings.
The Leisure Seeker isn’t a bad film, but its sluggish pace, inexplicable changes between the film and the book, and some corny dialogue keep it from being great.
The Story of Roger Ailes may be straightforward and a bit lacking in stylistic direction, but it’s a rather necessary look at one man’s life to help understand today’s politics.
Welcome to Marwen is an unfortunately shallow endeavor, with trite dialogue and a saccahrine portrait of very serious issues.
As if to reject beauty’s notoriously food-phobic reputation once and for all, Dumplin’ is pure visual comfort food.