French creature feature Infested delivers the creepy-crawly kicks promised by its title, although its human elements don’t really go anywhere.

Despite a bit of an imbalance between its first and third acts, Nightmare Alley delivers a delightfully meaty neo-noir packed with solid performances from its impressive ensemble.

If there is one thing that I've learned from Stephen Spielberg, and George Lucas it's that the easiest way to win an audience is to employ an antagonist that everyone hates, like the Nazis, or Stormtroopers. Producers Richard Donner and Joel Silver take a lesson in the first sequel to Lethal Weapon and pit Gibson and Glover against fascist dimplomatically-immune South Africans.

This movie exhibits a craft that belies Morita's inexperience as a director. He hasn't made a poetic film in the manner of his Ghibli mentors, but it's actually more polished in some ways than much of their work, especially in terms of movement.

Beavis and Butt-Head Do the Universe brings the boys back for an intergalactic comedy with plenty of their trademark crude laughs.

Weird: The Al Yankovic Story does for the music biopic what the real Weird Al did for many a hit pop song: it makes fun of it, reveres it, remixes it, makes it weirder, and improves it.

This belated sequel lacks the wit and charm of its predecessor, resulting in a po-faced action flick that has "straight-to-DVD" written all over it.

A decently made but unsurprising thriller.

Frank LaLoggia's 1988 film scared the living hell out of yours truly with its singular combination of hometown horrors and operatic tragedy.

Hellbender, a coming-of-age movie from a family that’s built their own indie horror house, is a captivating, smart, and delightfully witchy tale.

The story opens the door to a fascinating mythology of ancient warriors and immortality, although things get a little clunky when it comes time to explain how it all works. Still, The Old Guard is well worth watching if you’ve got an itch for something new.

The Ugly Stepsister’s torture-porn take on a classic fairy tale is told from a teenager’s point of view, but the grotesque elements are appropriate for gorehounds of all ages.

Color Out of Space is a delightful surprise. The film’s success is best viewed through the lens of Nicolas Cage’s increasingly deranged performance, which always entertains as it heightens, but never at the expense of servicing the story and elucidating just how dangerous the Color is.

From a distance, Materialists seems like a straightforward love-triangle rom com, but Celine Song transforms it into a meaningful, introspective drama about self-worth.

An effective debut feature from director Riley Keough, War Pony is a rare breed – a native story told by an outsider seeking to uplift the community rather than exploit it.

A new Wes Anderson movie is always an event, but the writer-director’s latest whirligig comedy, The Phoenician Scheme, might be his slightest in a couple decades.

Hook's Dante Basco and his brothers deliver an outrageous comedy about love & family in The Fabulous Filipino Brothers.

God’s Creatures explores generational family gender dynamics in an extremely slow-burn way, but it has plenty of rewards for patient viewers.

Rocketman is an unforgettable, emotional experience that raises the bar for biopics.

The Little Hours is an enjoyable comedy that wears a little too thin by the time it’s over.

McDowell is as good as ever here – this time playing Cornelius – while Kim Hunter is hugely sympathetic as Zira.

Evil Dead Rise is both a familiar and refreshing Evil Dead sequel that delivers all the gore you’d expect with a measured dose of the humor that makes this series a fan favorite.

IT may not be the best Stephen King movie (even though it comes impressively close), but it’s probably the MOST Stephen King movie.

Intense and atmospheric, Keith Thomas’ The Vigil invigorates demonic horror by centering on Jewish traditions, especially those concerning death. Part haunted house, part tech thriller, and entirely grounded by Dave Davis’ harrowing performance, the film never loses sight of questions of cultural identity, and the ways it intersects with personal and collective trauma.

While Blockers treads some familiar territory in its sex pact escapades, and occasionally buckles under the weight of its escalating insanity, its fresh perspective and stellar casting ensure a coming-of-age comedy that adds something vital to the genre.

Green Book lacks the depth it aspires to, and only works on a very superficial level. Viggo Mortensen and Mahershala Ali give exceptional performances but this message movie fumbles its message.

Jingle Jangle: A Christmas Journey already feels like a timeless treat. Though it's a little longer than it needs to be, Jingle Jangle is still filled with enticing visuals, holiday heart, and seasonal cheer. It instantly feels like a snug, fabled world ready to be explored.

Bodies Bodies Bodies’ great ensemble and delightfully chaotic script make for a tense and laugh-out-loud funny film.