United States
Disguised simply as a small-scale action horror film, Mohawk becomes a good focal point for something much larger than itself, which enables its flaws to be more readily overlooked.
Death Wish is a victim of poor timing due to current public sentiment in regards to guns and violence, but its generic revenge story and wasted cast don’t much help matters either.
Loaded with a star-studded cast, Nostalgia is an emotional trip down memory lane. It’s a poetic, yet melancholy look into the transitions of life and how it affects those around us.
They Remain lives in the shadows of many similar films that came before it, but it’s not quite as captivating as any of those due to gimmicky cinematography and a story without much momentum.
A classic horror film of Haitian voodoo and zombies, The Serpent and the Rainbow continues to scare and delight viewers with its historical relevance and impressive details.
Despite a premise which would beckon horror fans and cinephiles alike, Death House doesn’t deliver. Its many references and horror icons don’t contribute much to a story that is far too caught up in itself to be any fun.
Annihilation is best viewed as a trip deep into an otherworldly house of horrors, offering a deliberately illogical twist on the formula of horror movie storytelling.
Aimed squarely at Christian audiences looking for inspirational family entertainment, Samson is a preachy and plodding drama that’s light on excitement, action or any real sense of spirituality.
Game Night is a visually memorable comedy, standing out by masterfully blending the absurdity of its comedy and the realistic problems of its central characters.
Predictable and boring, Leatherface fails to give viewers and fans of the franchise a gripping, riveting, startling movie on how a serial killer family is born.
Looking Glass wastes its talented cast on poor writing filled with cliché after cliché, an odd and uninviting artistic vision from the ground up, and an overabundance of narratives and plot devices.
With its shallowness of character and its failed continuity of plot, Queen of the Desert is a film made as if to remind us of why we call films ‘pictures’, since the only good thing about the film is its mise-en-scenes.
Oh Lucy! is an inventive and poignant story that’s remarkably relatable, touching on loneliness and the sometimes outrageous lengths one will go to to escape the world and discover one’s own happiness.
Bomb City makes an impassioned statement in a sometimes messy way, but the energy it gives off is far more effective than any staid, overly safe version of this story could ever be.
Unsane has been filmed with an iPhone, giving the picture a paranoia-fuelled low-fi fuzz. This is more than just a marketing gimmick, as Soderbergh’s film centers on the idea of stalking – a timely focal point considering the mass of sexual allegations that Hollywood has found itself mired in.