Matt Donato

A Wounded Fawn is an artfully chaotic descent into bloodlust, monstrous misogyny, and euphoric comeuppances of the most punishing pleasures.

It may be messy, but the parts that matter go for broke with breakneck ambition.

Azrael is both familiar and unique, blending genre comforts with a risky idea. Luckily, it all works, paying off a relatively massive gamble that benefits from Samara Weaving's star power.

Get Away is a deceptive blast that properly exploits vacationer stereotypes to conceal vastly more wicked intentions.

M3GAN capably proves herself more than a horror villain meme, although the film does sometimes struggle to balance the horror and comedy.

The Gutter demands that you’re on its wavelength, but once you’re there, it’s like continual machine gun fire the way jokes and sight gags fly off the screen.

Sadly, some only listen when the quiet part is said out loud — Sissy blares its concerns and horrors like neon demons in front of the brightest ring lights.

Better Watch Out is a good movie you should watch knowing nothing about, like a spoiler-free Christmas morning.

Cameron and Colin Cairnes succeed in developing a time-warp slice of Halloween spookiness, a vessel for David Dastmalchian to prove himself (for those who don't know) as a commanding lead performer.

Take Me is a sunny little daydream about fetishistic domination, spun around one man’s jabby little gender battle. There is a sweetness to it all, as well as an undeniable creep factor.

The Ritual may start on familiar footing, but trust in David Bruckner's ability to summon some nasty tension and a third act that horror fans will be talking about all year.

Blood for Dust is a satisfactory interpretation of American hardships and making ends meet, one that’s been done plenty better and worse elsewhere.

Gray plays to the simplest pleasures of heist cinema and wins us over because sometimes it’s alright to simply be dependable and straightforward.

The Loner is a hyper-surreal tale of neo-noir revenge, boasting Middle-Eastern influences that unlock new aspects of an age-old genre.

The Thing with Feathers can be a rich and somewhat bizarre experience about processing trauma, accepting death, and moving on.

Revealer aims for a seedy, late-night Cinemax vibe and successfully tells a story about the horrors of oppressing individual expression, but never meets the fullest potential of its premise.

GoldenEra charts the rise of GoldenEye 007 in a documentary that should thrill those still holding onto their love of one of the N64’s most iconic titles.

Shelby Oaks is a promising debut from Chris Stuckmann that’s equal parts eerie and soulful despite some third act shakiness.

Mission: Impossible - Fallout is cocked, locked and ready to blow you away with more than just Henry Cavill's forearms.

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.

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.

It Chapter 2 downgrades Pennywise's presence amidst the adult Losers' coming together, but is still a funhouse-freaky sequel that makes quite the statement in terms of scaling blockbuster horror bigger and grander.

In the end, The Monster does more by way of thrilling tension and heartfelt admissions than it does through any scares, but that doesn’t make it a bad horror film. Bryan Bertino reveals a gushy soft side, only to tear out his heart and hoist it for all to see.

Avengers: Infinity War cares a bit too much about being "Part 1" and holding enough development for "Part 2," but MCU fans should see their 10-year buildup expectations met - not exceeded, but met.

Glorious might not save the world, yet it's still a wonderful way to pass the time while humanity as we know it is devoured by threats we'll never comprehend.

Orphan: First Kill doubles down as a prequel about Esther but manages to feel so uniquely standalone thanks to some supreme storytelling swings.

Dash will leave viewers behind based on the virtue of its obscure construction, yet should excite those seeking alternative character studies based on gig culture, second lives, and the unfaithful depths humans will plummet before telling a simple truth.

Little Sister is a spunky family drama that does "indie" right.