The Mardini sisters in real life went through hell, and their journey is incredibly powerful, considering what they went through. But The Swimmers only occasionally gives this story the power that it needs, instead, falling into easy tropes and an unfocused narrative.

The out-of-this-world premise about a woman befriending the alien clone of her dead best friend is a Trojan horse for a deeper meditation on loss that’ll remind you to hug your friends a little tighter.

All The Old Knives attempts to convince its audiences that it is a tawdry game of chess, but in reality, it’s a game of checkers. Pine and Newton are its saving grace, with their performances elevating it just above the waters of drowning in its own self-importance.

That it holds together is a testament to the cast who it feels like are battling against clumsy escalations that go bigger and louder when the quieter moments carry with them a far more tactful deployment of emotion.

With weak leads and shallow characters, Fall fails the audience by its inability to present human beings we can care about.

The easy winner out of Armand is Renate Reinsve. . . The runner-up is Halfdan Ullmann Tøndel. While his methods for bringing this story to life are a bit overly perplexing and too head-scratching, there is a clear talent for filmmaking on display here that makes his career one to watch with great and serious interest.

The Actor is a film about discovering who you truly are, and it also reveals that Johnson is a captivating, promising filmmaker who hopefully won’t wait another decade to make his next film.

I Want You Back largely relies on the overwhelming charm of its tremendous cast, and in particular, the magnificent dynamic between Slate and Day, but that’s all I Want You Back really needs.

Power Rangers: Once & Always doesn’t make the same mistake as the 2017 feature film Power Rangers, which took itself way too seriously when it didn’t need to. At the same time, the special is too aware that it should be a little serious, which prevents viewers from having fun with the truly campy moments that, although rare, fire up the screen when they pop.

While there is certainly still much that you feel like you want to know about Stallone at the end when it all neatly wraps up, Sly manages to be a documentary befitting of its subject with unexpected poignancy and just enough revelations to land some key punches before dancing away with a one-of-a-kind smile.

For all the ways it takes flight towards the end, Plane is an action flick that is mostly plain, the greatest sin for any film that should and could have gotten wilder.

Daddio is a repetitive and reductive experiment in dialogue-driven storytelling.

Sick is a decent slasher that hits all the right buttons, has some good scares and bloody kills, and has a unique take on the slasher tale—as long as you have the patience to get there. But considering this is from the writer of Scream, it’s hard to not hope for a little bit more than this.

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.

With beautiful visuals, an interesting plot, and a middle that some might even say makes up for its beginning and ending, Grafted is worth watching and Sasha Rainbow is a horror filmmaker to keep an eye on.

Seven Veils is an intense psychodrama, enriched by Seyfried's magnetism and the director's ability to piece together the content of Strauss' opera with the protagonist's repressed memories.

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.

It may not feel as polished or suspenseful as Longlegs, but you can tell Perkins is having a whale of a time putting his years of horror filmmaking to the maximum.

There are several interesting ideas and stories floating around Eric LaRue, but Shannon can’t seem to decide which ones to focus on. While there are some genuinely fantastic, inspired moments, they frustratingly never quite come together, leading to a baffling viewing experience. Hopefully, Greer will get another chance in the spotlight of a more worthy film.

How to Train Your Dragon is the gold-star example of how to do a live-action remake right.

We Bury The Dead is a sprawling but sparse zombie remix that's too far removed from the genre it's exploiting.

A razor-sharp, emotionally-devastating crime thriller where the stakes are high, and chances of justice are low.

Rosaline's shows its strengths when it focuses on the parallel story of Rosaline and Dario, but when the narrative crosses paths directly with Shakespeare’s story, Rosaline starts to fall apart, becoming a muddled mess of modern references, unusual characterizations, and ideas that don’t mix as well as they should.

Good Fortune is about love, redemption, and privilege, but it's also an indictment of exploitative labor and the forces that enable it, even if it takes many clumsy steps to get there. Its greatest strength is a reminder that being a good person doesn't get you a reward — being a good person is the reward.

Americana is an interesting modern take on the Western, with a standout performance by Halsey.

In Your Dreams deserves to be held up with the best of what other animation studios have done, and as one of the most visually stunning, funniest, and beautifully touching films of the year

Like the songs it’s built around, it’s simple and familiar, and sometimes that’s enough to make a movie feel so good, so good.