Zo Arroyo

‘Predator: Badlands’ is a wholly different kind of film for the franchise, a brisk, Saturday-morning cartoon level action-packed adventure that’s all killer no filler, delivering on the promise of its title and then some.

If, like me, you’re an Edgar Wright fan, and you come to ‘The Running Man’ looking for the filmmaker that you know and love, you’ll probably walk away ready to file a missing person’s report.

In ‘Shelby Oaks,’ Chris Stuckmann can put together a scary sequence, drawing tension from a pitch black hallway or from what may lie behind closed doors, but what actually comes out of the dark and what unfolds behind closed doors isn’t anything we haven’t already seen before.

The closing montage is not a final statement, because there can be no final statements in a continued struggle. ‘Bloom Where You Are Planted’ is the rare film that continues long after the credits roll.

 For anyone that loves his films but still misses some of his kinetic flare, ‘One Battle After Another’ is the perfect synthesis of the many sides of Paul Thomas Anderson.

A theatrical release instead of streaming, a runtime on the shorter side of 90 minutes, and a screen filled with gags galore from the opening frame to the end credits; the statement, “They don’t make ‘em like they used to,” doesn’t apply to the new ‘Naked Gun’.

Though I would’ve liked to see ‘Mission: Impossible’ go out on a franchise high, that it ultimately fails to reach those heights is a testament to the filmmaking. They never saved their best for last.

‘Simon of the Mountain’ should be an interesting film, given that its subject is rarely explored, but it falters in its execution because what's in the frame is far less interesting than what's not.