The subject matter is particularly interesting coming so soon after David Osit’s masterful documentary Predators, which already explored the complicated legacy of To Catch a Predator and the ethical questions surrounding Chris Hansen’s methods. Lance Oppenheim doesn’t attempt to make another straightforward examination of the phenomenon, however. Instead, he takes the facts and turns them into something closer to a psychological horror movie about the corrupting power of television notoriety.

Cregger can establish an awesome premise, build an absolutely electric atmosphere around it, but then gradually lose that magic as everything keeps going and becomes bigger and louder. Resident Evil may be the clearest example yet.

A 156-minute alien invasion blockbuster featuring wanton destruction, chainsaw autopsies, diarrhea monologues, gorgeously shot horseback chases, grotesque alien creatures and enough slow-motion action to fill a Michael Bay movie.

The whole endeavor is heavily layered and yet a bit too thin at the same time - the gift and curse of a nice, lean 90 minute runtime.

Alexander Ullom’s thrilling microbudget debut is deeply reflective, occasionally hilarious, and genuinely terrifying.

Idiots doesn’t quite coalesce into something truly essential or consistently hilarious, but it also doesn’t really need to. This is an exceptionally entertaining vehicle for some very obvious ideas, elevated by a committed cast and a willingness to take its comedy into some wonderfully dark and ridiculous places.

A horny, bloody, hilarious, gorgeous and endlessly layered love letter to horror cinema and all the strange ways it gets under our skin and reshapes us.

While its supernatural revelations may end up being a little too literal for their own good, Nightborn succeeds thanks to its emotionally grounded performances, relentless atmosphere, and a truthfully uncompromising willingness to embrace just how frightening early parenthood can feel.

For a franchise usually built around giving audiences exactly what they expect and hope for, Brand New Day frequently finds surprising new ways to remind us why Spider-Man continues to endure; superhero fatigue be damned.

It won't be for everyone, and it honestly probably isn't even for most people. But if you're willing to surrender yourself to its strange, mist-covered frequency, Her Private Hell offers one of the year's most singular and rewarding cinematic experiences.

A leaner, punchier version with fewer detours and more trust in its revenge narrative could have been something truly special.

This isn't just Christopher Nolan making his biggest movie. It's Christopher Nolan finally arriving at the story he seems to have been building toward all along. And much like Odysseus himself, the journey proves more than worth the wait.

I’m an absolute sucker for this kind of comedy. Give me broad slapstick, cartoon logic, endlessly quotable dialogue, and actors committing to complete nonsense with Oscar-worthy conviction, and I’m almost certainly having a great time.

It’s flawed, undeniably, but those shortcomings are largely overwhelmed by the sheer volume of morbid imagination on display.

Stylish, paranoid, and powered by an emotionally raw Britt Lower performance alongside astonishing cinematography and editing, Sender delivers one of the year's most memorable psychological thrillers.

Apologies to Pixar, Marvel Studios, Steven Spielberg, and Christopher Nolan, but this was my most anticipated theatrical event of the year. It was cool to see that I wasn’t alone.