"Armand" is a film that takes the audience on a rollercoaster ride of emotions, from tense drama to dark comedy to surreal symbolism. Renate Reinsve's performance as Elisabeth is a standout, showcasing her range from nervous giggles to hysterical laughter in the face of societal expectations and personal turmoil. Director Halfdan Ullmann Tøndel, with his distinguished lineage (being the grandson of Ingmar Bergman and Liv Ullmann), navigates through bold ideas and controversial subjects with both creativity and confusion. The film meanders through an intricate web of family history and societal norms, culminating in a climax that leaves viewers feeling both intrigued and slightly uneasy. "Armand" delves into themes of parental responsibility, social protocol, and individual agency with a mix of satire and seriousness. The supporting cast adds depth to the narrative, while Tøndel's cinematography captures the eerie emptiness of an elementary school setting during summer break. However, some directorial choices may come off as overly ambitious or distracting. In this blend of psychological drama and dark comedy set against a backdrop of familial secrets and societal expectations, "Armand" succeeds in creating moments that are memorable yet ultimately leave viewers questioning its ultimate message. While Renate Reinsve shines brightly amidst the chaos on screen, it seems like Tøndel may still be finding his footing as a filmmaker. With elements that are frustratingly wobbly yet undeniably intriguing, "Armand" serves as an ambitious debut that offers glimpses into what future endeavors from Tøndel may hold--hopefully with more clarity but just as much audacity.

"Heart Eyes" attempts to blend the worlds of romantic comedy and slasher horror with mixed results. Director Josh Ruben, along with a talented team of screenwriters, crafts a film that sets out to deliver murder and macabre merriment but struggles to find its footing. Olivia Holt shines as the lead, infusing her character with depth and charm, while Mason Gooding brings charisma to his role. However, the film's attempts at humor often fall flat, relying on broad gags that miss the mark. While there are moments of inventive gore and suspenseful tension, they feel disjointed within the overall narrative. Despite nods to classic slasher tropes and self-aware humor, "Heart Eyes" ultimately fails to fully engage audiences in either genre effectively. In a landscape filled with Scream-inspired imitators, this film ends up being more of a dull thud than a sharp stab at reinvention. So if you're in the mood for a rom-com meets slasher flick that misses more marks than Cupid's arrows on Valentine's Day, "Heart Eyes" might not be the love story you're hoping for.

"Hellraiser" and "Hellbound: Hellraiser II" are like a gruesome two-part symphony composed by Clive Barker. In the first film, we are introduced to the sadomasochistic delights of the Cenobites led by Pinhead, who makes Freddy Krueger look like a chatty Cathy doll. The film delves into the dark realms where pain and pleasure intertwine, exploring themes of desire and mortality with a visceral intensity that leaves you squirming in your seat. The sequel, "Hellbound: Hellraiser II," ramps up the gore and chaos as it continues Kirsty Cotton's nightmarish journey through hellish dimensions. With Dr. Channard's descent into madness rivaling that of Frank in the first film, we witness a twisted tale of resurrection gone wrong and malpractice taken to horrifying extremes. Both films offer a macabre blend of horror and dark fantasy, with Barker's unique vision infusing each frame with an unsettling aura. From flesh-rending hooks to blood-soaked corridors, these movies are not for the faint of heart – but for those willing to embrace their grotesque beauty, they provide a haunting experience that lingers long after the credits roll. So buckle up for a wild ride through Barker's twisted imagination – where pain is pleasure, pleasure is pain, and nothing is quite as it seems in this wickedly entertaining double feature that will leave you both repulsed and enthralled.

"Love Hurts" is like a rollercoaster ride through a theme park of mismatched genres and confusing character dynamics. Ke Huy Quan and Ariana DeBose try their best to navigate the choppy waters of this action-romance film, but the chemistry between them fizzles faster than a baking soda volcano made of cheese. Quan's Marvin, a former assassin turned real estate agent, grapples with his past while dodging bullets and bad guys in Milwaukee. The script feels like it's desperately grasping at straws, throwing in Valentine's Day themes and sibling drama without much coherence. Director Jonathan Eusebio brings his background in stunts to the forefront with frenetic fight scenes that feel more like choreographed chaos than calculated action sequences. Despite some visually interesting choices and snappy editing, the pacing rushes through plot points at breakneck speed, leaving little room for emotional depth or character development. Quan shines as the endearing Marvin, balancing his dorky realtor persona with glimpses of his darker past. His performance adds some much-needed heart to a film that often veers into absurdity. Supporting characters like Marshawn Lynch's King inject humor into the mix, but ultimately get lost in the jumble of subplots and half-baked ideas. While "Love Hurts" may have its moments of quirky charm and inventive visuals, it struggles to find its footing amidst a mishmash of tones and themes. The film seems torn between being a gritty action flick and a heartfelt love story, never quite committing to either direction. In the end, it's Quan's earnest portrayal that keeps this cinematic rollercoaster from completely derailing. Verdict: "Love Hurts" is an uneven blend of action-packed mayhem and romantic misfires that leaves you wondering if love really does conquer all or if it just leaves you scratching your head in confusion.