While the film unapologetically retains the same formula from the original, the sequence of events in ‘Smile 2’ is more ridiculous and excessive that the horror becomes absurdly amusing.

‘The Substance’ is lightning in a bottle, the rare kind of film that exhibits and maintains a rip-roaring, viscera-spewing electricity that sizzles throughout its entire runtime.

It’s interesting to note that despite this having sporadic action scenes and being Saulnier’s least violent film to date, ‘Rebel Ridge’ remains a gripping thriller where the threats of violence had as much nail-biting tension as its eruption.

‘Talahib,’ just like this film, is a blade of grass in a barren wasteland; it’s there, it exists, but it has no value.

For a prequel, ‘A Quiet Place: Day One’ doesn’t have anything enlightening to disclose.

There’s a handful of compelling ideas that can make for a good movie in ‘The Watchers’, but with this being the feature-length debut of director Ishana Night Shyamalan, those ideas are squandered.

Bad Boys: Ride or Die doesn’t have to be a game-changer, but the film could've been so much more if it didn't confine itself to the traditional formula.

For a film that tries to come off as having Christian values and even haphazardly throws in a silly portrayal of Jesus for extra points, its message is shockingly nihilistic.

James Wan’s Aquaman and the Lost Kingdom is the last breath of a sinking ship. A haze of ideas flashing before one’s eyes without understanding and empathizing with their significance.

Oras de Peligro has good intentions of reminding the local audiences about the country's dark history, and reigniting the flames that will prompt people into action, but Lamangan's overstuffed screenplay and rushed production eventually leads to its downfall.