One of the decade’s strongest horror films and an enormously confident statement from a filmmaker who already seems poised to become one of the genre’s defining new voices.

As a standalone story, One Last Kill feels a little thin, but as a brutal coda to the Netflix era and a reintroduction for whatever Marvel has planned next, it gets the job done.

No, it’s not a good movie. But it’s definitely an entertaining one.

A worthwhile, if imperfect, addition to McCarthy’s growing body of work. It may not hit with the same terrifying precision as Caveat or Oddity, but its atmosphere, craftsmanship, and willingness to linger in discomfort ensure that it’s never less than engaging.

Much like the series that influenced it like Twilight or Buffy the Vampire Slayer, Mackay’s latest film defies standard genre definition and is instead something more fluid: part coming-of-age drama, part supernatural horror, and, most compellingly, a sensual, emotionally charged romance.

There’s something undeniably compelling about this version of The Mummy, even when it’s at its most uneven. Cronin fills the film with moments of pure horror that can make even the most hardened of horror veterans squirm in their seats.

It lingers not as a puzzle to be solved, but as a question to be reckoned with. It’s a film that echoes long after you’ve found your way out.

It’s overstuffed and occasionally melodramatic, but it definitely delivers where it counts. For all its narrative shortcomings, the film understands the primal appeal of the fight itself: the spectacle, the brutality, the catharsis. It may not be a champion, but it’s one tough contender.

It’s funny, yes, and often sharply so, but it’s also deeply affecting in its uniquely unsettling way.

Nearly five decades after the original Faces of Death blurred the line between morbid reality and illusion, this bold reinterpretation makes that question feel urgent again.

Loud, random, and increasingly ridiculous, but once it locks into its weird no-holds-barred wavelength, it becomes a genuinely fun time. 

It’s a weird, wild, and wholly singular piece of work, one that won’t be for everyone, but for those willing to meet (and smell) it on its own terms, it’s unforgettable.

For those willing to meet it on its level and get wrapped up in its alien tentacle embrace, it’s an experience that’s equal parts uncomfortable, hilarious, and oddly poignant; a reminder that sometimes the messiest, most unhinged stories can also be the most honest.

Anchored by a ferocious lead turn from Zazie Beetz, this gonzo satanic horror-actioner wastes very little time getting to the good stuff. Even if it occasionally stumbles when it tries to convince you it has more on its mind than carnage, this is a worthwhile thrill ride for genre fans.

Unfortunately, Here I Come is a textbook case of diminishing returns.

It’s a fully formed directorial debut that is unafraid to alienate viewers who demand easy answers or conventional scares.

Imperfect but undeniably compelling, Peaky Blinders: The Immortal Man offers a fittingly tragic final chapter for one of television’s most iconic antiheroes.

A strange, singular cinematic gem that feels as combustible as the ammunition lining its frames.

It’s almost there - right on the cusp of being the next great absurdist cult comedy - but the hit rate on the jokes just isn’t consistent enough to fully carry its comedic ambition.

Running at a tight 82 minutes, it never wastes a second — packing in wit, heartfelt character dynamics, and a vibrant sense of style that makes every frame pop.