“Kayla” (*1/2 out of four) was a confusing, tedious suspense melodrama about a woman (Latia Matthews) who has an affair with a married man (DeJuan Ford) and then becomes obsessed with him and (yawn) starts stalking him and his girlfriend (Sabree Whitfield). Yet another rip-off of “Fatal Attraction”/“Obsessed”/“Sleeping With The Enemy” and pretty much any other thriller you can think of. Abrupt ending is the icing on the stale cake but at least it’s over soon after.

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“The Omro Heist” (** out of four) was a passable action melodrama set in midwestern Wisconsin in which a brutal bank robber (Simon Phillips) overtakes the town bank while the local cops (Anthony Crivello, Ken Bressers, and others) try to negotiate with him and various hostages (Heather Arendt, Damir Kovic, and others) contemplate fighting back and escaping. No “Dog Day Afternoon” nor “Inside Man” but efficiently made enough to be watchable and Jamie Bailey’s colorful cinematography is a highlight throughout.

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“The Handyman” (*1/2 out of four) was a deficient action melodrama about a handyman (Kevin Caliber) whose violent past and action skills have to resurface when he is thrust into an underworld showdown with a group of terrorist thugs (Erik Anthony Russo, Mark Schaefer, and others) and to protect a young woman (Veronica Tullo). Thirdhand generic action movie full of ennui and empty gunfights and hand-to-hand combat sequences. Film makes numerous references to both “Die Hard” and “Taken” as excuses to rip both films off.

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“Feral Female” (* out of four) was an excruciatingly garish and low-grade pulp action thriller about an exotic animal hunter (Jared Masters) who is called in to capture a dangerous and undomesticated female (Kate Ly Johnston) who wreaks havoc on all of the single males in L.A. At least if you’re going to make trash like this- do it with some style and conviction but film is inept on almost every level. Horror fans will note the gas station here is the same one used in “Friday The 13th 3-D” which looks like genius Spielberg compared to this.

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“The Wrong Life Coach” (** out of four) was a pre-fabricated, predictable entry in Vivica Fox’s never-ending “Wrong” series; this time, a woman (Morgan Bradley) down on her luck in life hires a life coach (Allison McAtee) who turns out to be a vindictive bitch who plots to ruin her life and turn everything upside down. Relatively well-acted and smoothly directed but seriously Vivica the thrill is gone. Incredibly- this is the 26th entry in this endless series! As usual, Fox has a minor role this time as an uptight boss.

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“Scissors” (* out of four) was a grotesque horror thriller about a sicko serial killer who is targeting the LGBTQ community; two world-weary detectives (B.J. Hendricks and Rob Mulligan) and the slimy mayor (Eric Roberts) investigate but find that this is one killer who is tough to track down and capture. Film mashes your face in so much repellent violence and excess ugliness that you may feel like one of the killer’s victims by the end. Brutal, in every sense of the word. Can’t someone save Roberts from this direct-to-DVD schlock?

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“The Housemaid” (*1/2 out of four) was a stilted adaptation of Freida McFadden’s novel about a housekeeper (Sydney Sweeney) who is hired to care for a wealthy couple (Amanda Seyfried and Brandon Sklenar) but soon finds that their household is full of dark secrets that take them all on a twisted and sexual odyssey that is more than meets the eye. Intriguing themes of sexual repression and moody melodrama go absolutely nowhere in this perplexing film. Even the usually smoldering Seyfried is one-note and stiff here. A real change-of-pace for comic director Paul Feig and an unfortunate real misfire.

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“Fluxx” (** out of four) was an overdone and overly cerebral melodrama about an isolated actress (Shelley Henning) in her Hollywood Hills mansion who begins to emotionally unravel and reflects back on her past memories with a celebrated talk-show host (Tyrese Gibson killing time between “Fast And Furious” entries) and others in her life (Shiloh Fernandez, Tanner Beard, and others) as means to regain her grip on reality and sanity. Opens with a sensational and stylish opening credits and has some interesting themes but goes so far afield into excess and mundane unpleasantness and never gets back on track. Gibson is solid as usual but based on this effort his career seems to be in “flux.”

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“Weekend Getaway” (*1/2 out of four) was a tired suspense psychodrama about three happily married couples (Ashley Dennis, April Melody Rox Doillard, Dee Hill, and others) who go to a cabin in the woods for a weekend and dangerous secrets are revealed that force them to question their relationships and stability. Pretty photography by Conrad Craven is eye-catching but otherwise this is pretty much of a bore. Hill, Dennis, and Dillard are all knockouts but this mostly feels like reheated Tyler Perry.

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“Play Dead” (** out of four) was a flamboyant but overly flimsy horror psychodrama about a young woman (Paula Brasca) who awakens injured in a basement surrounded by corpses; in order to survive, she pretends to be dead while grotesque rituals are ongoing around her involving others (Damian Castillo, Catalina Motto, and others) in the house. Directed with some style and flair by director Carlos Goitia and cinematographer Luciano Montes de Oca but becomes undeniably monotonous and unpleasant after a while because of lack of variation and story. Obviously influenced to some extent by “Cabin Fever” and also “Hostel”.

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