Stephen King may be best known for his ghosts and monsters, but The Life of Chuck proves that his most powerful stories have always come from a place of love.

Bring Her Back sinks its claws into the raw nerve endings of grief, trauma, and that universal, dangerous desire to undo death. It’s a ghost story of sorts, but one that feels sickly and decayed, soaked through with guilt and longing and rain.

While this final chapter isn’t without its share of bloat, messiness, or questionable edits, it’s still a wild, impressive, and deeply satisfying farewell to one of cinema’s most enduring action heroes - and to the man who’s embodied him with tireless fervor for nearly three decades.

For a series that’s always struggled with what it wants to be, this is the closest we’ve gotten to a definitive answer: dumb, fun and soaked in blood.

It may not be a total misfire, but it’s definitely not the sharp reinvention it could’ve been. However, if all you're really looking for is clown-themed carnage and murderous mayhem, you just may get your money's worth here.

While it’s not the most accessible movie for casual audiences - and certainly not the flashiest - this grim, emotionally grounded antihero story just might be the best thing the studio has put out in years.

A filmmaker baring his soul in the only language he knows - one of flesh, decay, and the futile, beautiful need to connect before we disappear.

Ryan Coogler tells a story that’s wholly and unmistakably his own. Blending the bold energy of genre storytelling - specifically supernatural horror - with a potent narrative of racial oppression, cultural identity, and spiritual survival, the result is one of the most richly textured and soulfully resonant films of the year.

The Wedding Banquet is a triumph — thoughtful, funny, and deeply affecting. It honors the legacy of Ang Lee’s original film while carving out its own space as a vital queer narrative for today’s audiences. In a landscape where LGBTQIA+ stories are constantly evolving, Ahn’s remake stands as both a reflection of the present and a hopeful look toward the future.

This is not a film about “why” the Iraq War happened or what its global or political consequences were. It’s not even really about who was right or wrong. It doesn’t try to moralize or contextualize. It doesn’t offer answers. It hardly asks questions. It simply exists - as a stark, often brutal reenactment of a singular mission gone sideways, told from the subjective memories of the men who lived it.

Drop doesn’t quite reach the inventive highs of the past works of Christopher Landon, but it’s still a gripping and cleverly modern tech thriller anchored by a terrific lead performance and that same signature Landon flair.

A stylish, well-acted horror film with a killer concept that falters under its own weight.

With a taut premise and powerhouse performances from Bill Skarsgård and Anthony Hopkins, the film crafts a nerve-wracking experience that forces both its protagonist and the audience into a relentless battle of wits and endurance.

This audacious rock opera packs plenty of ambition but flies a bit too close to the sun.

Part sickeningly sweet romcom, part gleefully violent action flick, Novocaine is a mixed bag of gory fun.

For all its ambition, The Electric State is a movie that, ironically enough given its premise, lacks a soul.

Director Flying Lotus takes a familiar premise — an isolated survivor on an alien planet piecing together the bloody puzzle of a massacre — and electrifies it with sheer audiovisual ferocity.

With a stellar cast, a heady mix of existential dread and dark humor, and a story that genuinely lingers, it cements itself as yet another masterful chapter in the filmmaker’s already storied career.

Director Kyle Hausmann-Stokes crafts a film that walks a delicate tightrope, balancing grief, guilt, and PTSD with a profound amount of heart and humor.

Rats! delivers an experience that is not only wildly entertaining but also shockingly cohesive in its absurdity.