Alison Foreman

There’s too much effort, too much time, and too much sincerity apparent behind this film to dismiss it outright. That’s what makes it frustrating, and maybe even tragic.

Alloway’s debut is a beautiful disaster that even at its weakest points has just enough glamor and guts to justify most genre girlies taking the journey eventually. Just don’t expect to find anything especially ripe, or rotten, once you check it out.

Marketed as a triumphant return to form and positioned as a nostalgic corrective move for Paramount after a year of public controversy, director Kevin Williamson’s latest lands like a corporate gesture that misunderstands both the franchise he created and the horror landscape it inhabits now.

Iron Lung is audacious and at times astonishingly boring. Still, it feels more enthusiastic and celebratory than many blockbuster adaptations built on safer math.

It’s a flashpoint depiction of American life filtered through a specificity that feels rare, romantic, and essential right now.

Wickedly lovable with the potential to be timeless, “Send Help” is controlled delirium microwaved on high heat.

A nasty, claustrophobic display of creative ineptitude — one that’s packed with as many incomplete ideas as it is tired genre cliches — Return to Silent Hill squanders the rare opportunity to translate one of PlayStation’s most psychologically sophisticated worlds into valuable box office fuel.

Caught somewhere between “Buffy the Vampire Slayer” and “The Wire,” this dark genre hybrid has a lot of flaws, but none of them are fatal.

Sure, the jump-scares are wild; the beatings are bananas; and at a certain point, you have to laugh. But Ben deserved better than a cage so primitive and a better owner might’ve really let him run free.

Director Derek Drymon does better than you’d expect with Paramount’s spooky new feature film — expanding the swash-buckling legend of the Flying Dutchman (Mark Hamill) into a funny, vibrant hellscape sure to lure in kids and millennials alike.