Told mostly in shadows, this is a story of broken trust and haunting guilt. Ahari uses one of the genre’s oldest tropes to remind us that it’s in confronting our demons that we gain the power to overcome them.

It’s a brave, uncompromising debut.

At times amusing, at others analytical, De Palma is both an homage and a lecture.

As fascinating as it is to peek in and eavesdrop on what appears to be an authentic Bob Dylan, Dont Look Back captures something that’s perhaps even more indicative of the songwriter’s nature: Dylan in transition.

Eclectic and unconventional in its presentation, Soundtrack’s density can throw you for a loop, especially if you don’t know the first thing about the geopolitics of the time and place. But it proves a healthy primer on the skeptical eye we should take towards world powers, and how even the art that’s meant to free us can be used against us.

While one of the few downsides of Causeway is the lingering desire to spend more time with these characters, the film holds an excellent return to form for Jennifer Lawrence and makes a stellar case for many more leading man roles for Brian Tyree Henry.

If the Avatar universe is going to be James Cameron’s preferred delivery method for visual spectacle on this scale going forward, then, let’s face it — by then, we’re all going to be itching for our next trip to Pandora.

It’s well-paced, the kills are inventive, and the gags largely land, especially for hardcore Scream devotees. Bettinelli-Olpin and Gillett finally have a lock on the amped-up Scooby-Doo mystery tone of Craven’s era, and that’s a blessing.

This film is a goddamned blast. To merely call it the strongest entrant in the DC Entertainment Universe so far is to call Jaws the strongest entrant in the shark movie canon. Say what you will about Clark Kent, Bruce Wayne, and Deep Blue Sea, but Wonder Woman is in another class altogether.

If Jones can move from mortal woman to musical superhero in the space of a few moments, if she can convert the despair within her ravaged body into energy, then so can the rest of us in our times of weakness.

VFW delivers the goods—tough-guy dialogue, memorable characters, and so much splatter— and audiences will be giddy as adolescents as the gore literally explodes on screen.

Alone is exactly what it sells — a taut, hot-wired survival thriller. With its gaunt storytelling, meaty characters, and high-stakes action, the film delivers on all fronts.

Misdirection, tight spots, intimacy as danger. Allied is a paperback thriller’s greatest hits compilation. But the film’s plotting is lively and sincere, gussying up the staid tropes of intrigue into immediate pleasures and perils.

It is impressive, though, the way the movie works to incorporate new online phenomenons, from Bitcoin to swatting. The latter bit, especially, resonates as one of the film’s most unsettling elements, if only because it feels so depressingly possible. Truly, it’s surprising just how soul-crushing Dark Web becomes after luring us in with so many intriguing mysteries, but, hey, this is the internet we’re talking about.

Moonage Daydream reveals a man who took a tremendous bite out of the apple of life — and millions of star-people won’t soon forget.

Chapter 2 is a hyper-violent piece of pulp action cinema through and through, but it’s also an exemplar of how to make such a film with style and intelligence.

With High Flying Bird, Soderbergh may well have crafted the most direct distillation of his own philosophy of filmmaking to date: idiosyncratic, confident, and endlessly disruptive.

Much as he might adore the man’s work, DeLillo’s mannered, precise writing occasionally clashes with the cheeky punch of Baumbach’s typical approach. When he leans into the artifice (see: the scenes around the Gladney dinner table, overlapping dialogue as the family circles around each other in a ritualistic dance), the film fizzes even through the chaos.

Craig’s performance on its own is worth the price of admission, and if nothing else Guadagnino really knows how to transport the viewer to a completely different place and time from today. With his films, the cliche has never been more true: The journey is the destination.

Undoubtedly, Barbarian will raise comparisons to last year’s Malignant, a similarly wild-as-hell horror flick that zigs and zags down all manner of crazy roads. And to be sure, there’s a similarly perverse glee to be found here, as Cregger toys with your expectations before jumping you to another element of his insane narrative.

Though the plot might feel a bit overly complicated, given the level of Serious Business being discussed in serious tones by these characters, it never drowns out the key emotional connection. There’s nothing seismic here, just a colorful, enjoyable yarn by one of the best cinematic confectioners around. One with some real heart to it.

If Lo and Behold is more just a collection of interviews on a series of themes than a cohesive piece of storytelling, it’s still a fascinating endeavor into how the Internet went from personal to unimaginably broad and how it could either continue to expand or perhaps even return to that infant phase again.

This unique blend of docudrama, action movie, and cartoon immerses the viewer in a way that wouldn’t be possible in a more traditional film.

A rich, complex drama that’s as much about consequence and justification as it is destiny.

This is sharp blockbuster filmmaking, coming at a time when IP is seemingly the only thing that gets any door open in Hollywood these days. Rather than churn out something cynical or pandering, though, Flanagan has instead taken that IP and instilled it with heart. Not just the chummy heart he’s hallmarked in past efforts, but the kind that comes from a creator who’s offered a chance to truly honor his influences and run with them.

By firmly rooting all of the film’s sprawling drama in a singular conflict, directors Joe and Anthony Russo manage to do what many superhero films have struggled with in recent years: find a truly effective reason to pit superpower against superpower.

Even when the narrative strays or lingers a few moments too long, it is Kier that reels it back in. Ultimately, Swan Song succeeds and proves that fabulousness has no expiration date.

It’s a thrilling rollercoaster designed for the theatre made by one of the few working directors who truly knows how to make movies for a theatre.