Galligan shot his sixty seconds of screen time in the same span it took to order and receive a pizza Galligan probably didn’t stick around to eat.
A GOOD WOMAN IS HARD TO FIND (2019)
The movie’s main course is made from the smoke of suspense, steak of a character study, and sizzle of Sarah Bolger’s performance.
EXORCISM AT 60,000 FEET (2019)
Can we finally agree that whenever B-movie idols headline DTV indie horror, those projects usually turn into throwaway time-wasters?
Z (2019)
“Z” sneaks the right amount of redirect up its sleeve to swerve into a weirdly unsettling last act that pays off the mystery with creepy chills.
DANGEROUS LIES (2020)
It’s another moldy potato in Netflix’s overflowing pit of expired produce that wasn’t fresh to begin with.
DREAMKATCHER (2020)
Starting on a played-out trope fires a flare to signal “Dreamkatcher” will be about as by-the-book basic as room temperature thrillers can get.
PORNO (2019)
Frankly, “Porno” is surprisingly tame, and that’s a word that has no business being associated with a film featuring multiple instances of testicular trauma.
WITCHES IN THE WOODS (2019)
You’re going to be disappointed if you expect “Witches in the Woods” to actually have witches in its woods. Then again, you’ll probably be underwhelmed no matter what.
PENANCE LANE (2020)
Suspension of disbelief becomes almost entirely dependent on how much imagination a viewer is willing to devote to make up for what’s missing, which is quite a bit.
MORTAL KOMBAT LEGENDS: SCORPION'S REVENGE (2020)
How do you not fall in love with a movie whose opening logo animation features Scorpion strangling Daffy Duck while gloriously growling, “get over here!”
CORONA ZOMBIES (2020)
Full Moon thinks so little of its audience that they’ll dump sh*t on our TV screens and try to convince us it’s chocolate.
THE LURKER (2019)
The next time a project like this comes Scout Taylor-Compton’s way, she ought to stop convincing herself she can still do them and start wondering why she keeps saying yes.
SEA FEVER (2019)
Anyone who itches at the sight of slithers beneath the skin or inside an eyeball will fully flinch at several shocking shots of bloody body horror.
WINCHESTER (2018)
While Sarah Winchester constructed her mansion according to whims, risks, and otherworldly influences, “Winchester” builds itself from a black-and-white haunted house horror blueprint.
GRETEL AND HANSEL (2020)
Unverified ambition turns “Gretel and Hansel” into a film whose obsessive artfulness accentuates storytelling almost as much as it gets in the way of aesthetic appeal.
47 METERS DOWN: UNCAGED (2019)
This franchise can safely sleep with the Mexican tetra fishes at this point and no one will bother looking for the body.
BLOODSHOT (2020)
Vin Diesel once again gives his charcoal growl and stoic swagger to another interchangeable tough guy facing off against indistinct bad guys.
VIVARIUM (2019)
I haven’t made up my mind whether “Vivarium” is a timely “Twilight Zone” tale for a post-coronavirus climate or if it’s insultingly tone deaf given the state of the world.
THE OTHER LAMB (2019)
Divorced from exploratory imagery paralleling Selah’s slowly unfolding epiphany, a tangible tale you can reach out and touch becomes harder to find.
THE PLATFORM (2019 - Spanish)
The movie douses itself in chilling commentary on capitalist culture, then lights a frightening match using visceral violence that shocks and awes in equal measure.
Although sleeker and perhaps scarier, “Smile 2’s” fault is that it’s arguably “more of the same” rather than a real advancement on what came before.