Zachary Moser

There's a madcap, kinetic energy to Weapons that is wonderfully displayed in the preponderance of chase scenes in Weapons. We go under table legs and through shared bathrooms. It's like we're kids playing tag, and you don't want to be "it".

The Naked Gun makes up for its lack of story with a complete commitment to the bit and uproarious performance from Liam Neeson and the cast.

The Accidental Getaway Driver's ability to show connection across generations and languages has rarely been so expertly staged.

Terrifier 3 has a real lack of tension that all the sawed-off limbs in the world can't Frankenstein together.

The doting relationship between the couple does some heavy lifting for the film and even in the third act (so conveniently announced by chapter cards that appear throughout Sleep), when things nearly go haywire, their believable bond papers over any horror movie lapses in logic. Yu is also wise enough to primarily put the focus on one half of the couple and Jung delivers.

Lumina is an impressively incoherent film.

Any one of the stories in A Sacrifice would be worthwhile to follow, but as it were, we only get a taste of each, and it's just not enough to make the ending satisfying. What is portrayed as horrific and tragic becomes melodramatic and arbitrary.

There's an aloofness to the violence that gets more morbidly funny as the film goes on, but LaRoy, Texas does not trust its darker sensibilities and the last 15 minutes drift back into a conventional lane and away from the bizarre and fiendish tone that was unexpectedly working up until that point.

Night Shift blows by characters and sequences on its way to the twist; the movie could have used a little longer runtime.

It's no less beautiful than anything Miyazaki's done before, and these softer illustrations, like sketches that were never refined, offer a dreamy world.