Whether you can stomach it enough to make it all the way will depend on the viewer, but Talk To Me has plenty that promises to capture the souls of horror sickos looking for a sinister spectacle.

The film's central thesis, that everyone needs somewhere to belong, seems simple on paper. However, it winds up being much more nuanced in practice.

Alfred Hitchcock's Mr. & Mrs. Smith is a chuckle-filled screwball comedy featuring one of Lombard's greatest comedic performances.

The Super Mario Bros. Movie captures the spirit of the games, the deep history, and the incredible possibilities that these games have presented for decades, all in one of the most fun animated films in years, with a team behind it that you can feel loves these characters and this world.

Funny Pages is a beguiling debut, but it’s also one of the most compelling and unique takes on the coming-of-age genre in years.

Throughout all of it, Ebrahimi gives a performance that, even in immense isolation, tells a whole story on its own and leaves a lingering impression long after the film itself comes to a close.

Leave the World Behind is a smart, compelling take on the end of the world, and proves Esmail is a writer-director who deserves larger-scale projects like this after his television successes.

The indie dramedy Who Invited Charlie? washes away any reservations you might have about a movie set in the COVID times and, more importantly, lets Adam Pally show us what he is capable of.

Glazer’s latest fits within his distinct style, breaking down a genre and working with the skeleton that’s left over in order to get at the heart of what makes these stories so jarring.

What makes The Stranger work is how this all creates an experience that feels as though the two men have become almost doomed to a life where they will aimlessly wander in what feels like an Australian purgatory. Whether they ever manage to escape and uncover some sort of closure is irrelevant to the growing rot that threatens to consume their souls no matter what they do.

Given its troubled production history, Messiah of Evil is far from perfect. Mood can only get you so far when not much happens for a good hour of the film. But it flows with the blood of New Hollywood in its veins, defining the wave as more than just gritty dramas and excessive blockbusters.

Bursting with laughter and heart, Joy Ride is not only chock-full of ribald comedy, but it's a wholesome story about friendship which is what grounds these types of movies.

There is a wonderfully withering sense of humor in how American Fiction explores this as all of the conversations Monk begins to have around the book he wrote as a joke sees it spiraling out of his control.

It’s a sophisticated commentary wrapped up in a beer-soaked package and is sure to linger with you long after the credits roll.

Limelight resonates today because of its awareness of the gravity surrounding Chaplin's legacy without favoring too far into self-indulgence. The film's endearing conclusion, that the humbling appreciation of humanity stands as the driving force behind art, is the thematic idea that Chaplin embodies.

Timberlake's acting aside, Reptile is the perfect kind of digestible, mid-budget crime thriller that we just don’t get enough of.

If you’re looking for a typical teen movie riddled with clichés and stereotypes, keep scrolling through your Netflix queue. This daring dark comedy both pays homage to and deconstructs the ‘90s high school set films you know and love, and does so with deliciously satisfying results.

Kill is every bit as insanely violent as you could hope for. It mixes melodrama, romance, and an aggressive amount of violence in ways that few filmmakers are capable of doing.

After the Bite could initially be mistaken for just another part of a trajectory of movies that has become defined by this trend-chasing rather than something more. However, if you begin to look closer, you’ll discover a measured reflection on our relationship to both the predator of the deep and the habitat that has come under threat.

The beauty of Decision to Leave is how Chan-wook can set his table with so many ideas, diversions, and elements, all making for an overly exquisite experience. Not only does Chan-wook blend detective mystery and romance, but Decision to Leave is weirdly funny, full of dark humor that fits in perfectly with everything else.

While Devotion may not look to reinvent the genre, it does carve out its own space in this year’s impressive slate of war films. It’s a solid, straight-laced story, that doesn’t shy away from the realities of war or the 1950s. Once it finds its wings in the final act, it soars to a place of real power.

Contrary to the film's critical reception, Fallen stands out as one of the most interesting portrayals of demonic possession ever put to film (not to mention managing to be a compelling detective thriller).

Apollo 10½ can at times feel like the greatest hits of Linklater and what made him who he is, but that’s a welcome change, and a reminder of his strengths as a filmmaker.

Joan Fontaine is so fantastic in Suspicion that she won the Academy Award for Best Actress, making her the only Oscar-winning performance in a Hitchcock movie.

When it all comes together it proves to be yet another poetic and patient cinematic reflection on the families we build for ourselves from one of the best observers of humanity to ever do it.

Accepting the World’s Fair Challenge isn’t a way to experience a The Ring-like challenge that will probably lead to horrors beyond one’s wildest imagination, it’s a way to be part of something, damn the consequences. Schoenbrun’s impressive debut latches onto that idea of online communities, coming-of-age, and finding one’s own people through a genuinely uncomfortable and unique horror story unlike any other.

The Bad Guys brings a deep love for heist films to this animated adventure, and in doing so, creates one of the year’s best animated films.

It is a character study that creeps up on you, deploying well-timed darker comedic moments that set up the cutting dramatic ones all the better. There is no pretentiousness or ego to either of the stunning performances, ensuring we are hit with the maximum impact of a maniacal masterclass of acting from Abbott and Qualley.