Matt Donato

John Krasinski orchestrates a loud and ferocious symphony of sonic scares that will assert A Quiet Place as one of the year's most terrorizing films.

Professor Marston is a sweet, saucy biopic about unconventional love and iconic origins (plus bondage!).

Crawl is a sensationally thrilling aquatic nightmare filled with carnage, bubbling chaos, and all the creature-feature intensity that makes this the summer's must-see horror event.

Mayhem is a wonderfully violent middle finger to corporate culture, gleeful in its desire to redecorate cubicles with red blood splatters.

It might be a tad light when matched against the wittiest mysteries, but for all intents and purposes, The Girl On The Train is a tightly-wound Hitchcockian ride wrought with tension. Elements of voyeurism, self-loathing and murderous intent mix together in a volatile cocktail stirred gently by director Tate Taylor, who doesn’t dilute a single ingredient.

The Lure is powerful enough to cast an obsessive spell on anyone watching.

The Edge Of Seventeen boasts an emotional journey filled with wit, humor and heart, resting easy on the back of Hailee Steinfeld's dynamite performance.

Morgan’s feature debut is as stunning, diabolical and boundary-pushing an emergence as any filmmaker could hope to achieve.

A soulful ghost story that does an unexpectedly solid job speaking to younger audiences about the afterlife, nailing the film’s appropriately spooky gateway-horror ambitions.

In A Valley Of Violence is built on intense shootouts, vicious criminals, crooked lawmen and everything that makes Westerns exciting, but its entertainment value comes from a tonal brew of all the right tonally-combative spices.

Furious 7 is an in-your-face assault of awesomeness under the guidance of James Wan, who saves a more lax story by orchestrating a metallic ballet of kick-ass proportions.

Speak No Evil is a worthwhile test of wills that’s sure to dampen anyone’s day with a superbly excruciating tale of monsters in civilian clothing.

Molli and Max in the Future is the textbook definition of an indie darling that executes well above its obvious production restraints, as unique and boundlessly ingenious a film you'll find in today's media landscape.

Thrilling sci-fi exploration that ponders the melancholic state of self-worth, existence, and what it truly means to be alive.

Visually, Moana shines like a diamond at night.

Before I Wake is a beautiful, meditative ghost story with one of the more rewarding horror payoffs I’ve seen in years.

It’s artistic, ravenous, and boundless in a way that honors the spirits of the New French Extremity movement. MadS is the kind of horror experience that feels like you’re new to the genre again — and oh what a glorious feeling that is.

Directorial debuts are rarely this poised, devastating or dangerous.

Anna And The Apocalypse is an enthusiastic coming-of-age musical that cares just as much about bellowed heart and soul as it does keeping horror fans entertained.

If You Were The Last succeeds in being sensually aware, wholesomely funny, and emotionally fulfilling.

The Hunt puts the "F-U" in midnight "fun" as no sides are safe in this middle-finger cultural roast that's as loudly defiant as it is proudly blood-soaked.

The Bob’s Burgers Movie is a family recipe that warms the heart, griddle and soul.

The Platform is a multi-tiered assembly of tension, terror and terrible imaginings that, in cake form, would be worth centerpiece window placement in any professional pâtisserie.

What Lowe accomplished in only her second full-length feature in roughly eight years shows such promise as a daring filmmaker with an original voice that deserves a megaphone, and I can only hope it doesn't take eight more to see what comes next.

Hellraiser is a reinvigorated reboot that gets the blood pumping, starting with Jamie Clayton’s worthy Pinhead performance that sets a fresh tone with immense reverence paid to Clive Barker's works.

Jurassic World: Fallen Kingdom is boggled insanity of the highest and most enthralling sci-fi order. As exciting and wondrous a summer blockbuster audiences could ask for. You must suspend reality (EVEN FURTHER) and enter a world where dinosaurs have existed for years in order to attain circumstantial nirvana, but if done correctly, an absolute wealth of ceremonious riches await

Yes, the movie where a girl falls in love with a Tilt-A-Whirl says more about self-assurance, romantic wilds, and personal comforts than most human-on-human counterparts.

Guardians Of The Galaxy Vol. 2 is the deranged Marvel disco you’d expect from a filmmaker who wants to push the limits of an otherwise rigid and structured system.