Matt Donato

Amy Seimetz plays by her own rules like this is the last film she’ll ever make (it won’t be, no shot). She Dies Tomorrow ponders self-fulfillment with agency and riveting execution. Seimetz’s fearlessness is what sells every ounce of this uncontrollable narrative’s every zig and zag. From tone to philosophy to composition, this is Seimetz’s soul on celluloid.

The horrors of childbirth become entangled in a demonic subplot as Huesera fits neatly into the list of chilling pregnancy horror tales, but doesn’t add much new to it.

Ti West is back with a violent vengeance, slicing and dicing through likable characters that light up the screen throughout their doomed and debaucherous overnight shoot. West is operating on another level — even the slightest editing cut cranks fear factors another notch higher.

Good Time is just that and little more, but Robert Pattinson's performance deserves praise like "career-defining" and "best yet."

Keeping Up With The Jonses plays everything so disappointingly safe.

Writer/director Jang Jae-hyun’s Exhuma bobs and weaves in ways American exorcism stories couldn’t fathom.

The Endless is a masterful cinematic echo chamber with incomprehensible depth. You will feel, laugh and be forced to address emotions shared with all on-screen personalities.

Linoleum is a heartfelt story about making every day seem like something fantastic.

It’s broody and disciplined, soaked in the pungent style of foreign auteurs who molded Scorsese’s own love of film – yet overburdened by a downward spiral lacking fire and unforgiving features.

Fences is old-school Americana that's driven by dynamite performances all around, albeit a bit stuffy in nature.

The pace of this gorgeously shot Norwegian pseudo-fable will be a roadblock for some, but give Vogt a chance. Storytelling rewards are bountiful once The Innocents executes its conflicts well above the expected maturities of players on screen.

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.

Top Gun: Maverick is an out-of-bounds blast of afterburner fumes and thrillseeker highs that's sure to please audiences looking for a classic summer blockbuster.

Fifty Shades Darker is a befuddling, messy erotic "thriller" that shifts tones faster than audiences can keep up with.

If you believe horror shines blackest when hardest to decipher, 2017’s horror crop may never best this effort. For me, it’s a Mortal Kombat finisher that punches through your ribcage with heart-in-hand – but the fight itself is a bit too talkative.

There’s something of an it-factor that Saloum possesses, though it doesn’t have the steadiest handling of entertaining distractions that relieve major plotlines along the way. Still, the way of the gun wins out for Herbulot, putting Senegalese horror hybrids on the map.

Barbarian is one of the wildest horror films in years from its combination of subgenres to full-throttle approach to unapologetic exploitation themes.

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.

If your script is good enough to pull Steven Soderbergh from “retirement,” color me intrigued. Such is true of Logan Lucky. An Ocean’s 7-11 hootenanny with Southern charm and Coen sensibilities.

The Covenant isn’t Guy Ritchie’s best, but standout performances from Jake Gyllenhaal and Dar Salim as bonded heroes save an otherwise bloated military thriller.

Better Man is in a category of successful biopic dramatizations all unto itself.

Win It All is another Swanberg special that hits upon the most human aspects of a gambler's curse, so perfect for Jake Johnson's leading take.

Evolution is undeniably beautiful, but it's a small-scale story which ignores a larger world that needs far more exploration.

Obsession should and will put Barker on the map as a horror filmmaker you need to watch. Thanks to fantastic turns by Michael Johnston and Inde Navarrette, you'll be addicted to this sour Valentine's Day counterprogramming.

The Beguiled is a deliciously dangerous period thriller that refuses to let a man's privilege go unchecked like the Hollywood standard.

Detroit is, for lack of a better term, a pornographic echo chamber of resentment. Trying to put out a fire with ten more tankers full of gasoline.

Your toleration of mother! will be determined by movie-going patience. Aronofsky is painting with some blistering broad strokes, but they’re just that – broad and undefined.

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.