Gone in the Night is a nice blend of character drama and thriller mystery. It doesn’t disappoint in its resolution, as long as you buy into a relatively outlandish premise. Anchored by strong performances by Winona Ryder and a calm and cool Dermot Mulroney, Gone in the Night is a solid entry in the growing vacation rental suspense niche of the thriller genre.

Memory, from director Martin Campbell, is the latest in the seemingly never-ending slew of Liam Neeson action films. Its plot is as bare bones as they come as it spins its yarn of a dual narrative between Alex Lewis (Neeson’s hitman with a conscious) and an FBI agent (Guy Pearce) who crosses his path. The straightforward plot finds Alex (who’s battling the early stages of alzheimer’s) turning his gun on those who hired him after he’s contracted to murder a child. Meanwhile, Pearce’s Vincent forms a connection with the young undocumented victim of human trafficking that Neeson has spared.

For the briefest moment in Deep Water’s increasingly ridiculous tonal massacre of a climax, there’s a slight glimmer that something sort of unique may happen. However, the feeling is fleeting as the film’s ending simply confirms what we’ve already assumed through the previous hour and a half; not only does Deep Water not have any idea what it wants to be, but director Adrian Lyne doesn’t seem up to figuring it out himself. Instead, Lyne poses the question, “What if an erotic thriller was devoid of sexuality while also lacking any suspense whatsoever?” The jumbled and maddeningly awkward Deep Water is the answer and it’s not something that’s worth seeking out.

Though it can be rote at times (and downright bad in some places), The Adam Project manages to be a surprisingly good experience with an unexpected amount of heart.

Turning Red’s core concept of a girl trying to control her newfound ability (or curse) and channel it for her and her friends’ benefit simply lacks the impactful emotional catharsis that is a signature of so much of Pixar’s previous work.