The interesting aspect of "Forbidden City" is its mix of Italian and Chinese to tell a story mostly set in Rome. The action optimizing Elisa Wong (known for the live action "Mulan") is fast and furious when it happens and yet the film is also balanced by the more cathartic Italian form of storytelling combined with a gangster picture. Written and directed by Gabriele Mainetti, it is an interesting mix since it moves different than a normal kung fu action film. There is a slickness and some Italian humor and yet retains a bit of the melodrama familiar in certain Far East cinema.

In the lexicon of Pixar, "Hoppers" is an interesting swing but, like "Onward", is a little uneven and at times not as sure of itself as it should be. But like "Inside Out", one of its best, it is a supporting character like Richard Kind's elephant that really brings the story to bear. Here it is a character called George.

With "The Bride", writer/director Maggie Gyllenhaal takes a surefire swing that is uneven and not for everyone but it is strong in its viewpoint and its artistic vision. Setting the tale and giving its own tendencies starting off in 1930s Chicago there is definitely a blend of "Bonnie & Clyde" and "True Romance". Christian Bale is good as always playing more brooding and quiet as Frank (until he bursts) but opposite him Jessie Buckley as Ida/The Bride really shines like the sun.

The concept of "Crazy Old Lady" takes the very real aspect of dementia and takes it to a horror structure degree. It never takes itself beyond its means and is anchored by a vivid performance of actress Carmen Maura as Alicia, the mother/grandmother in question. There is a slightly abstract nature to the proceedings which take place mostly inside a dreary and yet almost gothic house that Alicia lives in.

"The Draft!" [Shudder] which in many ways once its concept comes into play is quite inventive, if not a little on the nose. The film follows five college kids who comes out to what seems more like an abandoned villa in a jungle looking for haunted elements. The key here is that there becomes an awareness, which is maybe not quite given its due possibility with anticipation until the very last minute but it does speak to how the language, even in lower budget filmmaking, has evolved...with the right writing, even in a global setting.

The aspect of witchcraft in a modern setting is balanced in ideas of perspective and fun but many times not in the actual practical intent of witchcraft in the sense. "The Last Sacrifice" [Shudder] speaks to a murder of Charles Walton in 1945 under mysterious circumstances under consideration or rumors of witchcraft. He was a simple farmer apparently in a quite space of England but he was found pitchforked and the case per se was never solved. The documentary explores different parts of the story including the town's supposed cover up and an investigator's progression of the case some years later.

The aspect of revisiting the Scream franchise reflects in how it is told. The most recent incarnation in many ways worked very well though the essence of what happened afterward behind the scenes changed the direction likely. Neve Campbell also wasn't involved in the last one for other reasons. All these circumstances conglomerated together to bring Scream 7 to the screen and pays both tribute and continuance (as all these films do). The film walks the line between what it originally was and what it needs to be.

The intention of "Crime 101" is a 2020s form of a Los Angeles crime story but on a baseline level. With a great cast it follows a character based cross-section that we used to see a lot more but mostly has been relegated to TV and smaller actors simply because the medium has evolved. That said it is great seeing these bigger actors doing this kind of crime thriller set in Los Angeles like a modern film noir. One can tell Chris Hemsworth likes this style of movie but probably doesn't get as much of a chance as likely sometimes being Thor can limit the possibilities outside the core.

Writer/Director Luc Besson, with his take on the horror romance of “Dracula” with Caleb Landry Jones (who starred in his previous "Dogman"), has definitely an interesting play that is both similar and yet different from Gary Oldman and Francis Ford Coppola. It does change certain key elements and takes away certain character but doesn't suffer for it.