"The House With a Clock In Its Walls"

It’s genuinely unsettling and doesn’t always talk down to its target demographic.

"Nappily Every After"

What sets “Nappily Ever After” apart is its dissection of the impact of the male gaze on women’s choices regarding their appearances.

"Life Itself"

Every actor tries to showcase their chops, but the terrible script creates unbreakable barriers.

"White Boy Rick"

“Rick” doesn’t try to do enough for the audience.

"Madeline's Madeline"

Decker’s depiction of high art is imbued with an intense, borderline-violent level of religious zeal.

Ben Mendelsohn

“The Land of Steady Habits” never reaches a climax and remains a flat telling of rich white people and their problems.

Alessandro Borghi in "On My Skin"

Through the judicial system, power is granted to a select few in hopes that they will uphold the law and use their authority to protect and defend the greater good. This ideal, however, often doesn't translate to reality.

"Three Identical Strangers"

What seems like a happily-ever-after type of tale twists itself into a dark nightmarish saga of deception, experimentation and loss as the nature of the triplets’ adoption becomes more clear.

Shannon Purser in 'Sierra Burgess'

With “Sierra Burgess is a Loser” it’s clear that Netflix has adopted an everything-and-the-kitchen-sink mentality when it comes to their original release slate.

'The Most Assassinated Woman'

Had “Most Assassinated” leaned further into the guts and gore on-stage, the film could have been spun into a compelling thriller or horror flick.