An oddly earnest, often clumsy, occasionally compelling holiday slasher that never quite finds its identity.

Hailey Benton Gates' feature directorial debut fills a unique gap in the world of war and political satires.

This is Park operating at the height of his powers, delivering a thriller that’s as unpredictable as it is darkly funny, as emotionally bruising as it is formally immaculate.

It’s the kind of film that feels truly handcrafted; stitched together with an almost obsessive attention to detail, much like Victor’s own creation.

Even when I’ve admired his craft, I’ve never fully clicked with his wavelength the way some horror fans have. But ironically, his latest work, this year’s much-maligned Keeper, is the first of his films to pull me completely under.

While noticeably imperfect, Wright is clearly having a blast as he so often does in his films, and it's contagious.

Tons of inspired sci-fi action that moves with the confidence of someone determined to complicate and expand the mythology instead of coasting with it.

Bugonia is disgusting, hilarious, and impossible to shake. You’ll laugh, you’ll flinch, and days later you’ll still be thinking about everything you watched up on that screen.

Kathryn Bigelow’s most unabashedly popcorn thriller to date.

It’s a mixed bag with a handful of duds, a few near-masterpieces, and a lot of inspired weirdness in between.

Blending unabashed spectacle with substance, Bill Condon’s latest effort is a transcendent tale of romance and revolution that dazzles on all fronts.

Tron: Ares isn’t without its flaws, but it pushes the franchise into an exciting new frontier with an industrial edge thanks to Nine Inch Nails’ propulsive score.

Good Boy is a reminder that even the simplest premise can become extraordinary when filtered through the right perspective.

Thrilling, terrifying, hilarious, devastating, and essential all at once. Few filmmakers could pull that off, but Paul Thomas Anderson makes it look effortless once again.

As a cutthroat, exaggerated mirror of football culture, Him is often thrilling to watch, even if it doesn’t fully deliver on its ideas.

The Long Walk is unflinching in its violence, unrelenting in its despair, and quietly profound in its depiction of young men eternally forced to march themselves into an early grave.

This sequel proves that the loudest joke in rock history is also one of its greatest bands.

It's the same old bag of haunted house tricks for this supposed finale to the Conjuring franchise, but there's enough heart to say a proper goodbye to Ed and Lorraine Warren.

Undeniably gripping - a chance to see one of American cinema’s great maximalists let loose in a genre playground, armed with style, wit, and a cat who somehow steals every scene.

Gallons of toxic waste, exploding heads, Peter Dinklage, and even a little Motörhead help this reboot of the 80s splatter classic stand on its own.