If 1980’s “Terror Train” is considered a slasher film classic by horror afficionados Philippe Gagnon’s 2022 “Terror Train,” likely, will not.

Written by Ian Carpenter and Aaron Martin, the new version of “Terror Train” takes the original film’s plot and drains the fun and creativeness out of it.

After its screening during the Brooklyn

Sixteen years later writer and director Todd Field has returned to directing with “Tár,” an artful array of cinematic tics with a strong message concerning the nearly-unwinnable war against the puerile arguments of the cancel culture generation.

Consistently interesting, Field’s screenplay is full of ideas and sharp dissections of the world we live in today, all revealed through

An ancient terror hidden deep in a bog is the source of the evil held in the creepy Shudder original film “Moloch."

While lifelong horror aficionados might not get the benefits of full-on frights (we horror fans have seen it all), the film’s eerie aura is quite effective and holds a sense of unease throughout.

In this effective supernatural creeper

There just isn’t enough story to carry Olivia Wilde’s “Don’t Worry Darling” through a feature length running time. While the premise is there, the screenplay (from Katie Silberman, and Carey & Shane Van Dyke) fails to have anything new or interesting to say about the film’s themes, nor does Wilde have the skills as a director to pull it all off.

In an attempt to mix different genres

From the start, Allan Ungar’s “Bandit” takes the wrong storytelling route, in both its screenplay and casting of the lead role.

Kraig Wenman adapted Ed Arnold and Robert Knuckle’s novel “The Flying Bandit: Bringing Down Canada's Most Daring Armed Robber,” morphing this undeniably exciting true tale into a comedy of errors, sort of. Sadly, the true error is in the screenplay.

Greg Mottola’s “Confess, Fletch” is an absolute delight. Smartly written and consistently funny, this is one of most entertaining films of 2022.

Although inevitable, Mottola’s picture shouldn’t be compared with Michael Ritchie’s 1985 “Fletch” starring Chevy Chase, as the two films are cut from a different cloth.

Ritchie’s was very much a product of the eighties. Once Chevy Chase

The screenplay for "Spin me Round" (written by lead actress Alison Brie and filmmaker Jeff Baena) works for much of the film--until it falls into a hole of idiosyncrasies.

There is a lot going on with this unique film, the best being the deceptively anti-romantic view of the text.

Where most films find grand (and mostly clichéd) romance in a story like this