Chris Evangelista

Cronin and his team work overtime to make this movie gross, filled with goo and guts and uncomfortable squelching noises. A lifetime of horror movies has made me mostly immune to such things, but the third act of this film goes to such gruesome places that a woman at my screening who had inexplicably brought her very young child to this R-rated movie quickly scooped her kid up and hurried out of the theater.

Sometimes you want to see a fine-tuned work of precision pop art like "Jaws," and sometimes you just want to watch a CGI shark bite a guy on the ass. We, as movie-watchers, contain multitudes.

Ultimately, your enjoyment of Exit 8 will hinge on how much repetitiveness you're willing to tolerate. Liminal space horror fans will likely enjoy the film's moody aesthetic, and there are times where Exit 8 feels like a movie to be digested via spooky gifs and screenshots. Exit 8 may very well give you the creeps, but that might not be enough.

There's a lot of room for cheap, silly schlock here, but Goldhaber and Mazzei actually attempt to take this (sort of) seriously, which results in a far better movie than you might be expecting.

undertone is so effectively spooky that I found my eyes nervously darting to shadows as I walked to my car after the screening. The best horror movies don't need cheap jumpscares, they just need to make you feel like something dreadful is out there, lurking, waiting to make itself heard.

Using the framework of territory as well-worn as "Bride of Frankenstein" (which, to be fair, was pretty subversive for its time) to launch such a visually sumptuous, unapologetically bold story of love, graphic violence, and rage has to count for something. At a time when movie studios taking big risks and big swings feels more unlikely than ever, "The Bride!" is willing to charge headfirst into intentional audacity.

It's slick, solid, and filled to the brim with talented actors digging in and making the most of a not-entirely-nutritious meal.

I had oodles of fun watching Raimi go wild and give McAdams a chance to play the type of unhinged weirdo she hasn't really played before.

The Rip does give us a handful of scenes where Damon and Affleck's characters bro out, but these are brief flashes of light in a sea of darkness. I'm all for dark and gritty crime dramas, but "The Rip" never feels like much of a movie, more like a pilot for a new, particularly violent "Law & Order" spin-off. Matt Damon and Ben Affleck are movie stars, why hire them for anything less?

I left 28 Years Later nervous about what might come next. After The Bone Temple, I'm thrilled at the prospect of where this story could go. That's what I call progress.

Greenland 2 still feels like a silly disaster pic at times. But it's a cut above the rest, mostly because it's less interested in grand spectacle and more focused on everyday people just trying to make it through another damn day. We can all relate to that.

This is unquestionably the best performance of Timothée Chalamet's career, and Marty Supreme is one of the best movies of the year. I can't wait to watch it again.

Some might wish the filmmaker had avoided current politics at all, but the "Knives Out" films are very much a reflection of our modern times, and Johnson clearly has an uncomfortable but important message he's trying to preach: faith and belief are good things ... until someone starts using them the wrong way.

Mescal is quite good and tender in these final moments, as Will grapples with his grief. But it is Buckley who remains the shining beacon that keeps "Hamnet" alive.

There are certain movies that grab you from the jump, and Train Dreams is one of them — as the film began its journey, I felt instantly connected to it; engrossed, near hypnotized. I didn't want it to end.

The Carpenter's Son might just be creepy enough to work for you even if you've managed to go your whole life without religion or faith. But I imagine it works even better if you've spent some time in church.

For all his skills, Wright seemingly can't pin down what he wants "The Running Man" to be. The action isn't very exciting, the satire is unoriginal, and the over-reliance on weird product placement (both Liquid Death and Monster Energy get distracting shout-outs here) make the entire picture feel manufactured. I had high hopes that Wright could get "The Running Man" across the finish line, but the film stumbles right out of the gate.

The film lives and dies with Lawrence, who's fearless performance here reminds us why she became so acclaimed to begin with. Let's hope we start seeing more of her again now that she's back.

This is ultimately a worthwhile musician biopic if only for Jeremy Allen White's thoughtful, tortured performance. He's so damn good playing Bruce Springsteen that you more or less want to forgive the movie its flaws.

This is a truly beautiful film. But these visuals wouldn't be nearly as effective if del Toro had neglected the emotional heft of the story. Thankfully, he has Elordi to do a lot of the heavy lifting.

It's sick and twisted enough to stick with you, and the closing moments are particularly delightful (in a bleak sort of way). I just wish it all added up to a little bit more.

Good Boy may not exactly reinvent the haunted house subgenre, but it proves you can still teach an old dog new tricks.

A House of Dynamite delivers on its promise of creating a gripping, well-crafted, anxiety-inducing thriller that sticks with you.

Poor conclusion aside, Him clearly indicates that Justin Tipping is a filmmaker to watch, especially if he wants to stick around in the horror genre. Best of all, though, it serves as a wonderful showcase for Marlon Wayans, who has never really been as good as he is here, turning in a performance that's both incredibly fun and undeniably unsettling. I just wish the rest of the movie could match his energy.

This film frequently feels like a powder keg ready to go off...And yet, Anderson also keeps the film consistently fun and funny. Nearly everything DiCaprio is doing here is hilarious.

Whenever the film was on the verge of losing me, O'Brien's steady, remarkable performance brought me back. He really is that good here, and honestly, that might just be enough.

Whatever the flaws of The Conjuring series as a whole, "Last Rites" feels like a worthy conclusion.

If you've stuck with the "Hell House LLC" franchise this long, you might be interested in the answers "Lineage" provides. Whatever the flaws in his design, Cognetti deserves credit for trying to expand on such a simple idea with such a modest budget. And there are some moments here — mostly involving those damn clowns — that invoke the right amount of dread.