Part small-town drama, part neo-noir, part musical, part revenge thriller, The Rivals of Amziah King throws every genre in the blender, and somehow it works. Strange, soulful, and completely unbothered by convention, it's the kind of refreshingly original story you wish more filmmakers had the nerve to tell.

The End of Oak Street has all the right pieces: a mysterious cosmic event, a family falling apart, dinosaurs running amok. It just never bakes them into something whole. Reshoot scars and a script crying out for another draft leave this one stuck, feeling half-baked when it should've been a crazy ride.

The Last House locks its characters in for years, but viewers might be looking for the nearest exit within the first hour. Despite an interesting premise and solid production design, this sluggish survival story mutates into a preposterous action movie that’s tough to take seriously.

One Night Only sets up a clever, subversive rom-com wrinkle, then plays it painfully straight. Worse, Turner and Barbaro don’t spark any laughs and have zero chemistry, so this "wild night" ends up disappointingly tame.

The Devil’s Mouth has everything a great B-movie needs: underwater caves, trapped twentysomethings, and a bull shark where it shouldn’t be. But bad CGI and dumb decisions turn a killer premise into a frustratingly dull swim through familiar waters.

Forget the multiverse. Forget The Avengers. Spider-Man: Brand New Day brings Peter Parker back to the streets of New York for a darker, more personal adventure that pushes him into one of the franchise's most mature chapters yet. Even better, it reminds us exactly why Spider-Man is a hero who continues to endure.