Chris Nashawaty

Hereditary doesn’t reinvent horror cinema so much as polish the cobwebs off of its classics, strip them for parts, and refashion them into something that feels terrifyingly fresh and new.

Scott’s sci-fi adventure is the kind of film you leave the theater itching to tell your friends to see. Like Apollo 13 and Gravity, it turns science and problem solving into an edge-of-your-seat experience.

As De Palma shows us, whether he’s got two more films left in him or two dozen — Holy Mackerel — what a career!

It’s as good as screen acting gets.

Where to Invade Next is so heartfelt and sincere, it’s tempting to say that Moore’s mellowed with age. But beneath its innocent-abroad optimism, the film has a stinging truth that’s hard to ignore.

A Most Violent Year isn't an explosive film. It builds slowly, simmering toward an inevitable day of reckoning. It's the kind of uncompromising movie we don't see much of anymore. And it makes you nostalgic for a time when the world was worse and the movies were better.

With her wide, sad eyes and quiet air of embarrassment tinged with pride, Cotillard's Sandra is asking a question not only of her colleagues but of the audience, too: Are we willing to put aside our own self-interest for the sake of empathy? Are we cowardly or brave? Cotillard's exquisite performance makes you feel every ounce of the weight of that dilemma.

The Rolling Thunder Revue was Dylan’s personal magical mystery tour — and in Scorsese’s hands, there’s no shortage of magic or mystery.

Directed by Dario Argento, a.k.a. the Italian Hitchcock, the remastered giallo Tenebre is crammed with artsy camera work, intricate Rube Goldbergian death scenes, and a gruesome final reel where blood flows like the Tiber.

Beneath all of its hard-R partying, rebellious debauchery, and profanity, it taps into something very real and insidious in the zeitgeist. It’s one of the funniest movies of the year—and one of the most necessary.

The whole thing feels a bit like an Arabic riff on "Chinatown" or "L.A. Confidential" — a neonoir with a tawdry edge where our imperfect hero will eventually be doomed. It’s not a question of if, only when he will lose.

As in their previous comedies, Pegg and Frost play men who refuse to stop acting like boys. But these pint-swilling Peter Pans also know how to work the heart and the brain for belly laughs.

Bridge of Spies is like Capra with a dash of le Carré.

It's so deliciously twisted, it will make you walk out of the theater feeling like you just endured a grueling, giddy workout.

It’s the psychological duel between the terrific Isaac and Kingsley as captor and prisoner that delivers the film’s most charged jolts of electricity.

Lady is a surprisingly powerful gangster flick about a mystery woman whose public-enemy path briefly overlapped with John Dillinger’s in the ’30s. It’s just one of many Bonnie and Clyde knockoffs Corman cranked out at the time, but there’s real artistry alongside the violence and nudity in this one.

Despite its sharp feminist sting, Big Eyes never loses its light touch. Maybe the lesson here is that Burton should venture out of his dark, creepy comfort zone more often.

Is Kumiko simply naive, or is she mentally ill? The film’s perfect ending doesn’t try to solve that riddle, but it will make you feel as if you’ve just seen something hypnotically original.

Rogue Nation may not be the best, the tightest, or even the most logically coherent M:I flick, but there should be more movies like it: relentlessly thrilling, smart entertainments for folks who can’t tell the difference between Quicksilver and The Flash—and aren’t particularly interested in trying to learn the difference either.

It’s a slower (at times probably too slow) and more contemplative movie than its predecessor, but it’s no less haunting, thanks to unshakable performances from Ben Foster and Thomasin McKenzie.

Despite its terribly unimaginative title, Edge of Tomorrow is a surprisingly imaginative summer action movie.

Jurassic World is a blockbuster of its moment. It’s not deep. There aren’t new lessons to be learned. And the film’s flesh-and-blood actors are basically glamorized extras. But when it comes to serving up a smorgasbord of bloody dino mayhem, it accomplishes exactly what it sets out to do beautifully.

The idea of a secret world of professional killers adhering to a set of civilized conventions may sound absurd, but it’s what makes the Wickverse more intriguing and far richer than the usual numbskull orgy of cinematic nihilism.

Like Caesar and company, the films seem to be getting more intelligent and human as they evolve.

Hal gives us a lot to take in, whether you’re an aficionado or new to Ashby’s work. Scott has done movie fans a real service. She’s finally given an under-sung filmmaking giant his well-deserved close-up at long last.

Nominated for five Oscars, Pillow Talk led to two more Day/Hudson collaborations, but this is by far the best.

Loaded with atmosphere, bared flesh, and a haunting turn by the Dietrich-esque Delphine Seyrig as an ageless countess who hungers for a pair of newlyweds (and their necks).

Straight Outta Compton is a hugely entertaining film that works best if you don’t look at it too closely and just listen.