Thom Ernst

Ultimately, Bring Her Back is a film of contradictions: intimate and epic, bloody and cerebral, empathetic and terrifying. It’s the kind of horror that might take until long after the credits roll before its full impact lands.

Final Destination: Bloodlines doesn’t completely reinvent the wheel. It realigns the tires and tightens a few bolts. And for a franchise that is built on inevitability and expectations, that’s as close to cheating death as you could hope.

Until Dawn is a gleeful reimaging of the classic slasher film, modifying the tropes enough to turn the familiar into something fresh.

Sinners, the new film directed by Ryan Coogler and starring Michael B. Jordan, needs no more than a one-word review; Stunning. Magical also works. So does unforgettable.

Psycho Therapy is a charming return to form for the adult comedy—dialogue-driven, character-first, and delightfully absurd. A smart and silly piece of narrative chaos that earns every word of its unwieldy title.

It Feeds delivers a layered and unpredictable narrative. Much of that independent energy comes from its strong ensemble cast: Ashley Greene, Ellie O’Brien, Juno Rinaldi, Shayelin Martin, Shawn Ashmore, and Scott Baker.

Drop is neither profound nor plausible. But it is timely and, as a cautionary tale told in an era where first dates can live or die on how often we glance at our phones, a lot of fun. But buying into the outrageous premise depends on your tolerance for high-stakes nonsense and your patience with neurotic dinner partners. Thankfully, I have experience with both.

Typically, action films benefit from a standout villain in an unexpected role. But with A Working Man, Ayer, along with Stallone and Chuck Dixon as co-screenwriters, dilutes the role of the villain so much and so often, that it becomes challenging to determine whom to harbour a grudge against and to what extent.

Geremy Jasper’s O’dessa is a dystopian rock opera lacking the essential elements of soul, rhythm, and the rebellious spirit characteristic of rock ‘n’ roll. It’s a tone-deaf attempt at greatness that ultimately falls short.

A raucous, non-stop, full-throttle slapstick comedy that makes an episode of The Three Stooges seem like a production of Swan Lake.

The Rule of Jenny Pen is a dark and deeply unsettling film. Lithgow is unhinged and Rush is the perfect foil to attempt to bring him down.

As you might expect from King, The Monkey is dark, ruthless, and violent. What you might not expect is just how funny it is. Like, it's genuinely hilarious.

Despite some impressive kills and a respectable body count, Heart Eyes is more romcom than slasher. However, it's a genre mishmash that creates a wholly unexpected delight. Imagine Jason Voorhees stumbling onto the set of Sleepless in Seattle or an entry in the Scream franchise directed by Garry Marshall.

Dark Match, a recent addition to a growing line of stream-screams, combines the melodramatic tensions of a sports drama with 80s-style schlock horror.

While there are a few twists in the film, much like the certainty of a flight delay, none arrive unexpectedly.

It’s a ghost story, a minor entry in Soderbergh’s oeuvre but still worthy of attention.

Despite being top-heavy in themes, Whannell’s Wolf Man is a plodding, uninspired tale that discards folklore—there are no full moons or silver bullets—and squanders the talent of its cast.

Yes, Anderson is good, but it’s the film that ultimately lets her down.

Wicked can at times feel like a movie that’s one brick short of a road. But when all is said and sung, it’s still a road paved in gold.

With its quirky take on a doomsday scenario and a hero you could tuck into your pocket, Hanky Panky lives up to its title as a mischievous slice of offbeat nonsense.

Smile 2 is a freakshow that will likely delight those willing to go all in, seeking a chaotic experience while others will be left to wonder not only where this is all going to but where did it come from?

Beyond the humor and pathos, Will & Harper is a touching and heartfelt exploration of friendship.

Schimberg’s film is a blend of low-level science fiction and mid-range body horror, though it’s body horror with a social conscience. It’s remarkable viewing, even as it distills its theme into a well-worn message of resilience that’s idealized rather than realistic.

Director James Watkins’ American remake of Speak No Evil, starring James McAvoy and Scoot McNairy, is a thrilling, fun night at the movies.

Alien: Romulus may not have the edgy feel of the original Alien, nor the rollercoaster ride we got with Aliens, but it's arguably the best entry in the franchise in over thirty years.

Kneecap is one of the most likeable films this year. Turn up the volume and enjoy.

Plenty happens in Exhuma, which branches out from its home base in South Korea, briefly touching down in America, with added references to Japan. It can make for a crowded narrative, launching several storylines of unsettled spirits and ghostly miscreants. Yet Hyun's story is told efficiently enough not to seem convoluted or aimless.

Set, script, performances, and direction - it all works.