Matt Donato

Gareth Evans’ Apostle is The Wicker Man, Safe Haven and Silent Hill thrown into a boil that bubbles over during a ruthless third act that certainly delivers if you have the patience.

While Wyrmwood: Apocalypse might be described as a brains-off zombie flick that’s best when at its most insane, it’s certainly not braindead. Engines rev as zombies breathe toxic-colored fumes, homemade outposts defend against hungry undead outside, and horror-action excitement ramps almost with a vivid, videogame cinematography that’s escapism through extreme, baddie-brutalizing violence.

Its methods may be unconventional, but Joel Potrykus never loses grip of the slippery strangeness.

Arrival challenges viewers to a brainier sci-fi conundrum than they're used to, which makes for an intellectual breath of fresh air.

Grant packs plenty into Torn Hearts’ double-barrel approach, and assures herself as a director who knows her way around a joyfully dark midnighter romp. It’s a sinister and fork-tongued tune that holds a nutty tempo, sure to delight audiences who are into hootin’ and hollerin’ at some honky-tonk horrors.

Like Me is a bombastic feature debut for Robert Mockler, benefitting heavily from visual artistry and Addison Timlin's strong performance.

I was ready for Kill Your Lover to be a better concept than execution, but that’s not true. Its flaws are apparent, from a forced feature duration to inevitable conclusions, but there’s nothing detrimental enough to ruin an otherwise impressive original horror creation.

For better or worse, Kostanski's throwback creature feature wants older horror fans to feel like their childish selves again — as long as their childhoods were filled with Charles Band and Pee-Wee Herman.

The Love Witch is a seductive 60s time-capsule that calls back to the technicolor charms of early genre filmmaking.

Let The Corpses Tan is a stunning display of visual seduction and slaughter-first gunplay, if not somewhat distracted by a skeletal script that’s been stripped of all meatiness.

It Ends takes viewers for a terrifying ride in unexpected ways.

Okja is a wild, tender tale of wonderment and friendship, delightful but still with smacks of vile consumerism darkness.

The Wrath of Becky is still a fun-filled slaughter-fest, even considering the lulls before Becky unleashes her fury.

Rough Night is a seriously funny movie led by some seriously funny ladies, but even more impressive is a mainstream comedy that relies not on cheap shocks like many who have come before.

It’s an unexpected commentary on filmmaking that layers metatextual zingers into its unbelievable rom-com intentions, somehow delivering what the title promises and more. In terms of mainstream comedies, we’re not in Kansas anymore—and that’s a win for Wain’s collective.

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.

Luca Guadagnino’s Suspiria will divide fans of the original and those excited for something fresh as a testament to long-form (2+ hour) filmmaking that holds together impressively well.

The Hollow Point is a blazing contemporary western that finds pleasure in punishment.

Blockers sells itself as a parents-first warpath comedy, but the true treat here is watching a trio of young women navigate sex-comedy narratives that boys have dominated for far too long.

The Belko Experiment rides a gushing wave of carnage through the elevators of an unsuspecting office building, gleefully making wolves out of sheep.

War On Everyone is a pitch-black, nihilistic riot, like a pissed-off teenager spinning atop a mountain with two outstretched middle fingers pointing in every direction.

When it’s best, The Seed is covered in slop and prone to psychedelic “romance” sequences where actresses writhe under and between the creature’s endless tissue flaps. It’s obscene and artful, on a budget that proves “doing it yourself” can still be provocative.

This is dirty, abusive, sticky, heartfelt (?), enlightened (??), intellectual (???), deranged, offensive, damningly provocative filmmaking at its…most…unhinged?

With tighter scripting, this’d be a masterpiece. As is? Christopher Nolan has produced a damn-fine picture that goes against most of what his catalog has become renowned for in a good, streamlined way.

See for Me positions itself as an unfair tale of “easy target versus evil men,” but highlights its strongest material when valuing people beyond their disabilities.

Margaux is younger adult horror with an edgier attitude and pops of twisted comedy, which helps distract from digital effects that look like they might actually be from 1999’s Smart House.

While its minimalist approach keys into creepy unknown anxieties about our extraterrestrial neighbors, Duffield’s signature dose of emotional heft floats away into the clouds this time around.

The Ministry of Ungentlemanly Warfare is a solid Guy Ritchie take on World War II that tells an incredible, sort-of-true story that’s plucky, punchy, and quite entertaining.