It is grimly funny at times, though no less terrifying because of it. Everything compliments itself as we observe the beautiful forest being made into a hunting ground where there is nowhere you are safe for long.

When watching The Feeling That The Time For Doing Something Has Passed, the brilliant comedy from writer-director Joanna Arnow in which she also stars, both comedy and tragedy are expertly wielded in her hands.

There is no other horror film you’ll see this year as incessantly cruel and mean-spirited as The Coffee Table. This is both a compliment and a criticism, as, while the film is plenty committed to twisting the knife into its audience, it can also be rather repetitive before rushing to the finish.

Through its dynamic direction, clever script, and stellar, largely Canadian cast, Humane has earned a place in the longstanding genre of ecological thrillers. It's a fun, bloody reminder not only of how far people will go to save themselves, but to always bring pepper spray to an unexpected family dinner.

Even when it can risk falling into being a little repetitive and dulling its impact, it will swerve in just the right way to keep you on your toes.

Spy x Family: Code White is a fun journey with the familiar characters of the series though doesn't add much of anything new.

Not only does neither part of Rebel Moon work, but The Scargiver is such a downgrade that it could prove difficult for the franchise to bounce back for more.

The Ministry of Ungentlemanly Warfare is a wild ride and one of Guy Ritchie’s better recent films even as its characters prove to be rather thin.

Blackout is a werewolf movie with plenty of passion behind it that still doesn't pack the punch it needs to.

John Magaro, Steve Zahn, and Dylan Baker lead a cast of stellar character actors in a film that winds up being one of the better Fargo-adjacent movies we’ve gotten in some time.

Thought-provoking and poignant, In Flames isn’t an easy conversation, but it is a necessary one that rests its narrative on the pervasive gaze of patriarchal oppression.

Challengers is a wild love triangle story, punctuated by three excellent performances and tremendous talent behind the camera.

Sting is a horror movie about a killer spider from outer space that somehow falls short of the fun potential of such a premise.

Bombach’s documentary shows that there's much more to the Indigo Girls, presenting a remarkable duo who have not only meant the world to countless people, but have used their music and their platform to change the world as best they can.

There are masterful works of horror that have proven less can be more. Despite some of its promise, Baghead is not one of them.

With The Greatest Hits, Benson gives us the film equivalent of an album with a cool cover that masks the inadequate record within.

The film plays with a lot of subgenres — locked door mystery, slasher film, haunted house, alongside the obvious vampire story — that it almost seems like Radio Silence couldn’t decide what their favorite was and opted for a taster menu of everything. That works in its favor occasionally, especially since its monstrous little ballerina, surprisingly, takes up so little of its screen time.

Stevenson's debut feature is a smart handling of horror with imagery that won't soon leave your mind, elevated by an uncomfortable performance by Free. Stevenson shows how to bring a franchise back from the dead, and proves that maybe this series doesn't have to be all just for Damien.

The film manages to capture the specific way queer communities communicate with one another and the unique chemistry between them in a way few others have.

A tense atmosphere and great acting make up for some lackluster characterization choices.

The People's Joker is a bold vision, a mixture of a coming-of-age story and parody, infused with a transition story that is emotionally powerful and absolutely necessary.

Ultimately, Wicked Little Letters is a delightful comedy worth writing home about (just be sure to watch your language when you do).

Blood and Honey 2 still isn’t exactly “good,” and it might be a bit premature to start working on a sprawling Poohniverse, but considering the dregs this series began at, this is a flawed improvement that’s still a bear of little brain.

Where the original remains a work of art that is as entertaining as it is well-made, this remake proves to be nothing more than an empty and thunderously stupid approximation of an action film. Neither thrilling nor tense, it's simply dead on arrival.

In the Land of Saints and Sinners is a thoughtful crime drama that features good performances from Liam Neeson and Ciarán Hinds, as well as another standout turn from Kerry Condon.

Godzilla x Kong is a vacuous de-evolution into monster-on-monster action but also arguably the best possible version of that transition. There’s no doubt that this is fairly moronic, but it still manages to be an improvement over what we’ve seen from the last two installments in this cinematic universe.

Carter may remain quite lousy, but with Krumholtz at the helm, this film is anything but.

While the title promises fire, the only riddle remaining is where the adventure it was searching for ended up disappearing to.

You’ll Never Find Me gets lost in its own madness. Its ending is less ambiguous and more thoughtless.

Expansive yet focused, it is a work that is dense in terms of its ideas while also making room for more delicate emotional notes when you least expect it to.

Shirley is a relatively straightforward biopic, but it’s worth the watch to see Regina King’s beautiful performance that feels like an ode to the trailblazing woman.

Cuckoo will most certainly not be for everyone, but for those looking for a horror film that draws you in just as it defies any of your expectations for where it is supposed to go, it’s hard to think of a trip this year you’ll find that is as bold and bonkers as this one.

Frozen Empire attempts to evoke the past with constant callbacks, while trying to make the audience care about a more modern story with characters for a new generation, and ends up failing on both counts.

Belktibia's feature debut comes with compelling sequences as a mother fights against what seems like the entire world, but murky motivations hold one back from getting fully emotionally invested.

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.

Sometimes, in film and in life, the greatest gifts are the ones you don’t expect yet were there all along. Omni Loop is this in beautiful, bittersweet action. As it loops back one more time, you’ll wish you could run it all back again.

My Dead Friend Zoe opens wounds and douses them in peroxide — the immediate sensation stings, but eventually cleanses and soothes.

A thriller that starts solidly enough and picks up steam before blowing the doors off with an outstanding ending, Magpie is one of those rare films that feels both fresh and alive while building off classic genre works of the past.

Garland may have just delivered one of the most vicious and unrelenting watches of the year, one that I’ll keep debating and untangling both in my head and with others for a good long while.

Grand Theft Hamlet shows how incredible it is to see how a new medium of storytelling can shift what we know of a beloved work and put it into an entirely new context after centuries.

Desert Road almost immediately establishes itself as a potent thriller, but the real fun to be had is watching it evolve from one type of film to another, as mundane threats give way to more mystical hazards.

It’s a fun romantic romp, filled to the brim with gorgeous scenery, gorgeous clothing, and beautiful people.

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.

Sweeney takes plenty of risks in a lead role that’s rigorous and emotionally demanding, but the film ultimately feels a bit surface level considering how it approaches horror.

Arthur the King plays out like both your typical sports movie and your average dog flick. It's sometimes emotionally manipulative and full of melodrama, yet that doesn't stop it from being a perfectly fine way to spend 90 minutes at the movie theater, especially for dog lovers.

Yes, it’s a crowd-pleasing romantic comedy thriller, but first and foremost, it’s one big-hearted ode to the artists responsible for movie magic.

Man is a true mixed bag. The action is staggeringly impressive, both from a visual and storytelling standpoint, but the material in between runs the risk of deflating the experience via pacing problems and narrative confusion.

Not only is director Benjamin Brewer’s Arcadian a good Nicolas Cage movie, but it’s one of the most fun cinematic experiences that he has been a part of in recent memory. It's a work of horror worth taking seriously even as things go gloriously off the rails.

Imaginary is a mess of a horror film, with poor narrative choices, obvious twists, and clichéd characters.

Despite its sometimes rocky editing and crowded ensemble, First Time Female Director does what it sets out to do: make you laugh and laugh hard.

A Road House movie shouldn’t be boring, especially this boring. A Road House movie shouldn’t have to enhance its fight choreography in post-production, nor should it be such a tonal mishmash. I guess Liman didn’t get the memo? His Road House remake is an uninspired chore that never properly unleashes Gyllenhaal or nails even the most basic functions of bar fight nostalgia porn.

While Copa 71 can feel a little surface-level at times, it’s still an enjoyable watch and a solid introduction to an event very few remember.

Rather than embracing the more nuanced themes, the film shies away from deeper introspection.

Tim Blake Nelson and Chloë Kerwin give life to Asleep in My Palm, helping to smooth over the narrative rough spots when it count.

Ricky Stanicky could have easily been a disaster, but thanks to the cast, some effective laughs, and a big heart, it ends up making for an entertaining two hours.

Kung Fu Panda 4 is a film all about deciding to not do the easy thing of remaining stagnant and comfortable, but rather, trying something new and hopefully finding the greatness in the new opportunity. Kung Fu Panda 4 similarly does this, attempting a new approach to this world and mostly finding success, while also potentially setting up the future of where this series could go.

Just as credit must be given to Baker for how she so completely captures a moment in time and place, it is Nicholson who inhabits this world so naturally that you feel like you’re just peeking in on Janet’s life.

While vast in scope, Fighters perfectly weaponizes the magnitude of its stars and utilizes their shared likability to build a real sense of camaraderie among the squadron. This emotional investment proves vital.

Amelia's Children is a horror film that has moments of unintentional humor, but is ultimately dull rather than some sort of clever dark comedy.

There is something occasionally charming about Outlaw Posse. Alas, charm can only get you so far when a film resembles more of a scattered work of cosplay than a robust cinematic work.

Torres' humor might be too niche for some, but Problemista shows that it can be used to tell a compelling and heartfelt story for the masses.

With vaguely established threats and storylines, Megamind vs. The Doom Syndicate is the movie equivalent of meeting a friend you missed for many years only to realize that the encounter didn’t really need to happen.

The Sweet East ends up saying quite a bit, though little leaves any real impression.

Spaceman is a rocky journey, but in times like these and thanks to Sandler’s performance, it’s often worth the trip.

Io Capitano fails its stirring lead performance with generic filmmaking and storytelling impulses.

The result is a film that leaves a distinct impression, molding deeply personal elements and sweepingly profound ideas into something spectacular that sneaks up on you.

Demon Slayer To the Hashira Training makes excellent use of the cinematic experience and shows that this series is best seen on the big screen.

Stopmotion is a one-of-a-kind, hand-crafted horror film with a great performance from Aisling Franciosi.

Ultimately, History of Evil lacks the teeth and the scares to be a truly effective horror movie, acting more as a mildly infuriating thriller.

Drive-Away Dolls, the solo directorial debut of Ethan Coen, is an occasionally charming road trip comedy that never quite reaches the wit and brilliance of other Coen projects.

While Part Two is impressive on multiple fronts, it doesn't make it to the finish line without stumbling first.

Bye Bye Tiberias is a unique documentary that handles its painful subject with grace and care.

There’s a fascinating and beautiful true story at the core of Ordinary Angels, but the bland way it’s told does it a massive disservice.

The result is a bold and sensational documentary that seamlessly blends reality and adaptation, successfully crafting a story of grief and trauma that is as profound as it is heartbreaking.

Watching the movie is like seeing a concert from a seat in the back corner. You're still there for the music, but you have the view furthest away from the artist himself.

To watch This Is Me…Now: A Love Story is to admit Lopez’s ambitions as an artist stretches well beyond what people say about her. But even though the film acts as a manifesto of her creativity, not all of it works.

Trần Anh Hùng’s The Taste of Things is a beautiful film that finds splendor in both its characters and their culinary creations.

Madame Web wastes a talented cast on a superhero movie shockingly devoid of tangible humanity.

It becomes apparent that the story is trying to do too much, with far too little time to do any of it well.

This is a movie that deserves to be discovered, to be recommended to friends, and to develop a cult following that lingers on. It's just too much fun to settle for less.

Out of Darkness is an often jaw-dropping horror debut that arrives at a more substantive conclusion that makes everything more interesting in retrospect.

Upgraded is still worth the watch for the couture, the comedy, and the Devil Wears Prada-esque journey of self-discovery.

The ultimate ambiguity might be enough for some to praise Lin's work, but there's simply not enough to chew on by the end of the story for it to be a resounding success.

Though Suncoast features wonderful performances, its clichés dim its impact.

Despite not ending on its strongest note, Daughters is still a highly effective documentary overall. Working with subjects this young and topics this sensitive can be challenging, and you always run the risk of feeling exploitative, but Daughters handles both with compassion and care.

Ibelin is an effective and creative documentary about the power of online friendships.

There’s a lot to like about Seeking Mavis Beacon, and the documentary is at its best when it feels like a celebration and tribute to the technology and its elusive cover model. Overwhelming and chaotic editing choices, however, detract from its overall impact, and what makes the film authentic and special threatens to get drowned out.

Grounded by exceptional performance across the board, a rich and funny script, and confident direction, Lisa Frankenstein is a delightful film. It doesn’t break a lot of new ground (unless you count the many graves that are dug up throughout its 101-minute runtime), but it does manage to frequently subvert expectations of horror, comedy, and romance movies alike. All-in-all, it’s a bloody good time.

How to Have Sex is a fearless, uncomfortable, and mesmerizing watch from start to finish.

Silver's vision doesn't always work, sometimes feeling like a mishmash of ideas and tones that don't always go well together. But when the film focuses on this central relationship, Between the Temples finds a lovely sweet spot that makes it all sing.

Skin Deep is the type of quietly ambitious film that never forgets about the personal while immersing us in vast ideas about the underpinnings of identity itself. It is a poetic and profound gem of an experience you wouldn't dare swap for anything else.

While Bloody Hell is undoubtedly courageous for dealing with many sensitive themes, the film struggles to find its pacing and keep the audience engaged in a story that sometimes feels too predictable.

Much like the character he plays, Mikkelsen does a lot with very little, giving life to a barren world that is often defined by death and suffering. It is in his piercing stare that we are taken into the entire interior world of tumult he is trying to contain.

Ultimately, Dìdi's problem is that it is charming but aimless. Izaac Wang is perfectly cast as Chris, and he has amazing chemistry with this cast, but there just isn't enough to go off of. It feels like we're looking into a vignette of someone's life rather than taking in a fully realized story.

Don Lee comes out the other side unscathed since his charisma helps carry most of the story and he’s always fun to watch.

The Tiger's Apprentice is a self-contained, satisfying story that will both entertain and tug at the audience's heartstrings.

Thelma could’ve been a one-note joke, but Margolin’s script makes being elderly a strength and not a weakness.

At its core, it's a light-hearted spy romp that riffs on a lot of the soap-opera tropes that crossover into the realm of espionage. "Dumb fun" might get thrown around a lot with Vaughn's films, and it might be true, but Argylle does try to be smart in its execution.