Harmony Korine’s infrared assassin movie Aggro Dr1ft is a video-game-inspired experiment that’ll have you in a trance.

It’s a distinctly less subtle look at misogyny than her #MeToo masterpiece The Assistant, but Green further distinguishes herself as one of the most exciting and provocative feminist filmmakers around.

A rousing, spectacle-filled blockbuster, Godzilla: Minus One takes the king of the monsters back to his roots in post-WWII Japan. The story is character-driven, but the monster scenes are exciting and effective.

Nicolas Cage plays a mediocre stand-in for all 'canceled' men in this provocative cringe comedy, driven by a sharp screenplay and subtly surreal filmmaking.

As much as its focus is technological, it’s an emotional exploration too – a wry and thoughtful magnification of what life feels like when you lose and re-discover your purpose, or you learn to see yourself through someone else’s eyes.

Love Lies Bleeding combines intense lesbian sexuality with shocking, graphic violence for a film that really gets the blood pumping. Kristen Stewart embodies her dirtbag character with the jumpy physicality she does so well, and her chemistry with co-star Katy O’Brian is powerful. The film loses focus as it escalates to hysterical heights in its second half, but its pulpy, fetishistic pleasures are potent.

The Shrouds may seem impenetrable at first, but it grows in the mind and heart like a cancer. Let it linger long enough, and it also starts to feel like Cronenberg's most complete, self-assured, and dramatically accomplished work in years.

A deeply depressing comedic experience (thanks at least in part to accidental political timing), Bong’s remix of Edward Ashton’s novel presents a Trump-like villain and no worthy heroes, resulting in a farcical sci-fi adventure whose symbolism makes up for its misshapen character drama.

A Different Man is a twisted, sometimes grueling, frequently darkly funny ride with standout performances from Sebastian Stan and Adam Pearson.

David Lowery’s latest is a visually fascinating chamber piece with great performances from Anne Hathaway and Michaela Coel.

It doesn't always work; it loses its way midway through, as though in desperate search of purpose. But when it finds that purpose, it makes a powerful emotional impression: Visually splendid, emotionally arresting, and features some of the finest filmmaking of Guadagnino's already-accomplished career.

Saulnier savages the legal loopholes that allow police to exploit their community, all while offering the year’s most breathlessly suspenseful standoffs. It’s what a modern crowd-pleaser should be: smart, gripping, and about something.

Sure, it’s an exaggerated and somewhat obvious film, but that doesn’t make director Coralie Fargeat’s point any less true – nor does it detract from the tremendously gory way in which she makes it.

The First Omen is a fiendishly entertaining origin story for both the antichrist and a filmmaker to watch.

Abigail is a hilariously gory romp that banks on a memorable ensemble cast and a witty screenplay that invigorates vampire tropes with a refreshing drollness.

My Old Ass is a sweet, hilarious coming-of-age story anchored by Aubrey Plaza and Maisy Stella’s excellent comedic and emotional chemistry.

A Real Pain is a hilarious and tender drama that shows us that truly living is the only way to honor those we've lost.

In a Violent Nature is a clever slasher experiment that underdelivers in the story department but more than makes up for it with some clever kills that will be sure to linger long after the credits roll.

Dìdi is a chaotic crowd-pleaser that effectively represents the messy process of finding oneself in the midst of adolescence.

Superman is a wonderfully entertaining, heartfelt cinematic reset for the Man of Steel, and a great new start for the DC universe on the big screen.

A deeply human film with no human characters, The Wild Robot is a tear-jerking and unpredictable animated adventure.

Y2K is a deadly unserious disaster comedy featuring fantastic cyber-monster effects and humor inspired by the time period.

The movie plays its fun, spooky premise as straight as possible, while winking at the absurdity of its analog aesthetic.

Weaving’s expressive face and boundless energy make her a compelling heroine, and her will to survive is unstoppable.

This is an irreplicable experience that speaks volumes about following your dreams despite the challenges that await. The reward will always be worthwhile, even if it’s just about the friends you make and NPC cops you massacre along the way.

Alien: Romulus’s back-to-basics approach to blockbuster horror boils everything fans love about the tonally-fluid franchise into one brutal, nerve-wracking experience.

MoviePass, MovieCrash is an abundantly entertaining, easily digestible rendering of a ‘too crazy to be true’ story that looks at the turbulent, short life of the company from the perspective of its creators, its destroyers, and the rank-and-file workers who could do nothing but watch it all go down in flames.

Crackling comedy, a sizzling age-gap romance and a new kind of sincerity make Bridget Jones: Mad About the Boy second-best only to the original.