Aurora Amidon

Hopefully if they make a second installment in The Tearsmith series, those behind it will dare to step a little further outside of their self-imposed genre restrictions.

The Greatest Hits boasts a compelling and original high-concept plot, but, as can be the case with high concept plots, this leads to much of the film’s first act being occupied by exhausting exposition.

Good Grief is not a dramedy (even though it is marketed as one), but rather a somber film about the messiness of grief and its often unforgiving, even destructive, grip.

The issue with Night Swim isn’t that it’s ridiculous, it’s that it doesn’t understand quite how ridiculous it is.

It’s torture-forward, funny, preposterous, imaginative and puts into practice what the franchise should have learned a long, long time ago: There is no reason to reinvent the saw blade.

If you’re expecting a totally original horror flick, you’ll be disappointed. If you’re looking for a film that cohesively fits into and helps explain the Conjuring universe, you should know better by now. But if you’re looking for nothing more and nothing less than a film where a barbaric nun slaughters everyone in its sight, well, look no further. Everyone else will be nun too pleased.

It’s nearly impossible to talk about Alzheimer’s without forefronting misery, anger and despair. It is a cruel and callous disease that destroys lives piece by piece. Perhaps the greatest feat of the courageous The Eternal Memory, then, is Alberdi, Góngora and Urrutia’s ability to broach the subject with all of these emotions—but with an emphasis on life, not death.

Directed by Ben Wheatley, Meg 2: The Trench earnestly takes on the challenge of being even more brazenly goofy and ludicrous than the first film.

Margaret’s journey of self-discovery is a fascinating and satisfying watch.

Marchese and Flower are clearly aware of the potential that their set-up has, and in attempting to submerge themselves fully into both themes, ultimately commit to neither.