The end result is a film that truly feels like it has something to say and goes about saying it in the strangest way possible.

Smart, stylish, and suspenseful, The Woman in Cabin 10 works in large part because of Knightley’s performance.

The sci-fi thriller certainly has some bumps along the road, but a dedicated performance from Jessica Rothe helps amplify it into an intriguing ride that cleverly showcases the actor's impressive range.

It's a maddening and heart-pounding portrait of bureaucracy amid war and the mental torture of being helpless in the face of terror.

Father Mother Sister Brother does have little pockets of Jarmusch's genius scattered throughout, but not enough to make up for how unfulfilling the entire experience is.

There are more misses than connections in the third act, and for its title, it's never really vicious enough despite the blood and gore to come. Still, it'll keep you on your toes as it's cutting off someone else's.

It features terrific performances from Roberts and Garfield, but even they are not enough to save the film from being too muddled and morally ambiguous for its own good.

Altogether, Black Phone 2 is a mixed bag that still has some clear winning attributes.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

Tron: Ares isn’t likely to turn Tron into the major franchise Disney has clearly wanted it to be for decades, but it is a sign that the company has a smarter understanding of what these movies need to be: exciting to look at, with a great soundtrack, and with a story that’s dumb fun. Tron: Ares not only achieves that, but finds fun ways to fit in the other installments that make you actually want to see more installments in this world, as opposed to having them forced upon us. Tron: Ares isn’t a killer app, but it is a solid upgrade.

If you've already tested yourself with other beautiful, albeit lengthy, works of art, don't miss the opportunity of witnessing Hadzihalilovic's imperfect masterpiece. Allow yourself to be mesmerized by its beauty and consumed by the paranoia that surrounds it, much like Jeanne in the realm of the Snow Queen.

It’s entirely possible you won’t see a scarier movie this year than Orwell: 2 + 2 = 5.

Bone Lake isn't heavy or particularly meditative with its themes of sexual repression, mismatched couplings, and people's absolute failure to efficiently communicate with each other, but it gives us just enough to pad out an amusing framework and make us wonder where it's all headed.

Some moments could benefit from lessened narration, a longer cut in an individual scene, or the maintenance of a less dreamlike tone, but it's a fine film that provides one of the most unique cinematic experiences in biopic history.

While it’s certainly great that Daniel Day-Lewis is back in his element, and Ronan Day-Lewis can craft impressive, imposing imagery, Anemone is just too much empty space, waiting to be filled with something.

It takes a tale as old as time, adorns it with the accoutrements of soft body horror, and ultimately tells the audience members to keep their chins up; that they have the power to break through these societally-inflicted ideas about self-worth.

V/H/S/Halloween is dark and demented, and is the funniest movie of this franchise. But if the V/H/S series just turned it down a notch and tried some different storytelling formats, the next one could be even better.

Killer coyotes aren't all that scary, and the comedy of the supporting characters feels forced and overly written. Kudos to the crew for coming up with a premise and refusing to send it off the rails into fantastical absurdism. Still, just because you keep the plot grounded doesn't mean that there is enough to keep up the tension.

Are We Good? isn’t just an enthralling look at pain, loss, and how we handle unexpected grief; it’s also a reminder that life is always full of surprises — both good and bad — and that unexpected journey will certainly have you asking "WTF?" throughout.

There's something to be missed from the first due to the predictability of his path in this iteration, but there are enough surprises and novelties (usually violent) to provoke delight and get adrenaline pumping.

The latest action-comedy from Black proves that he's still capable of delivering an equal parts funny and action-heavy comedy with all the trademarks that make us love him as a filmmaker.

The Strangers: Chapter 2 is a true disaster, one of the worst horror films of the year, and it’s a damn shame this is what this franchise has come to.

For Rocky fans, this is a brilliant chronicle of the history of a perfect show, with plenty of the humor, heart, and zest for life you'd expect. In a broader sense, it is a fascinating examination of cultural lightning in a bottle, how to exploit it, and which pitfalls to avoid.

It's an engrossing thriller that reels you in with its unconventionality and offers up something different in a largely uniform genre.

Adulthood is a film with three-dimensional people who are good for some laughs due to their reactions, but the surrounding plot is high-stakes and filled with suspense. Every single time you think you know where it's going, a new twisting avenue carries us somewhere else.

Night of the Reaper succeeds in Christensen's goal of bringing something new to the horror genre, and keeps the audience engaged, mystified, and on the edge of their seats.

At the end of the day, Rehmeier's take on an outlaw romance wrapped in a road movie is entirely too enjoyable to give too much hate to. From the country music needle drops to the oozing on-screen chemistry, anyone who loves a good crime movie that doesn't take itself too seriously will need to get their butts into the theater for this one.

Figgis’ Megadoc is an engrossing look at one of the biggest pet projects of all time, a film that lived in Coppola’s brain for so long and struggled to come to life on the screen effectively. Megadoc shows that while it's great to bring your passion to life, sometimes, it wasn't meant to be.