All five stories in V/H/S/94 feature a cult-like element, but only one of them feels like a true work of madness.

I’m Your Man promises Dan Stevens as a rom-com dreamboat, but what it delivers is far more intriguing and rewarding.

The Starling contains themes of grief and guilt that are worth exploration, but finds itself unable to delve deep into these elements, instead relying on bad bird effects and a needlessly quirky and eccentric tone to gloss over most of the uncomfortable elements.

The Many Saints of Newark is a solid and fan-friendly prequel to the classic HBO series, even if it does try to add too much to the Sopranos Universe.

A gorgeous black-and-white film that harkens back to several cinematic eras, Joel Coen’s The Tragedy of Macbeth twists an old tale just enough to keep it fresh, but relies on tremendous lead performances by Denzel Washington and Frances McDormand to make the familiar feel exciting.

Inu-Oh is the electrifying, headbanging animated rock opera that film has been sorely missing, with a poignant message and unrestricted animation that reaffirms the visual prowess of director Masaaki Yuasa.

Copshop is meaningfully and enjoyably derivative as a patchwork homage to '70s shoot-em-up cinema (even Spaghetti Westerns), but it never quite reaches its potential.

Cry Macho has spare moments of charm and tranquility, but mostly it's a dry and unfinished story that fails to hit even the most basic of Story 101 beats.

Blue Bayou works as both an emotionally insightful character piece about a man looking for where he belongs, and as a brutal exposé of the lesser-known broken parts of our immigration system.

Though Chbosky’s staging is uninspired, the songs — both old and new — are nonetheless powerful, which might be enough of a lure for fans of the show or musicals in general. Sadly, Platt’s calamitous casting dooms this adaptation to cringe-worthy awkwardness.

Even if you loved Host, skip Dashcam, Rob Savage’s provocative but woefully shallow, ugly, and cruel follow-up.

Krysten Ritter, along with Winslow Fegley and Lidya Jewett, provide enough pizazz to keep Nightbooks afloat, creating an engaging supernatural hostage scenario.

Its efforts at social commentary mostly fall flat, but its thrilling moments and Gyllenhaal’s intense performance largely make up for that.

Though Jessica Chastain delivers a heartfelt performance as Tammy Faye, her faith in the filmmakers can’t save this drama from falling flat.

Though visually engaging, Malignant can’t overcome the genre identity crisis at its core.

The Last Duel’s staggering trial by combat allows for some brilliant performances, brutal fights, and impactful social commentary.

Queenpins works best when Kristen Bell and Kirby Howell-Baptiste are allowed to let their effortless chemistry be the focus. Their comedic instincts are pitch perfect as their naïve pursuit of trying to get ahead financially snowballs into a multi-national coupon-stealing scheme that they are entirely unprepared to navigate. But the fun fizzles with depressing side stories, and especially when Vince Vaughn and Paul Walter Hauser commandeer too much screen time with middling results.

Ultimately, this storied provocateur deals out shocking imagery and disturbing scenes, but he refuses to lay down a thrilling climax much less anything satisfyingly entertaining.

Co-writer/director Julia Ducournau delivers a superb sophomore effort, which surpasses her cannibal horror-comedy Raw in provocative content and twisted laughs. Newcomer Agathe Rousselle is an extraordinary find, hurling herself face-first into grisly violence, lusty dances, and nerve-rattling emotional terrain.

Halloween Kills suffers from being the second chapter in a trilogy, but it still delivers gory fun, fantastic performances, and an electrifying score from John Carpenter. There are enough callbacks to the original film to satisfy Carpenter fans while also expanding the mythology around Michael Myers and the town of Haddonfield in meaningful ways.

Spencer is a narratively ambitious film that remixes reality and fiction to get us inside the head of the Princess of Wales, exploring mental illness and past trauma with high camp that captures the suffering of its main character. Kristen Stewart gives a career-best performance while Pablo Larrain cements himself as a go-to director for unique and thoughtful biopics.

Dune is a gorgeous but imperfect epic, a technical wonder that spends too much time setting up a third act that never comes.

Kate is a bland and unoriginal action movie that fails to make us care about its title character.

Billy Porter's five fantastic on-screen minutes as the electric "Fab G" are over far too soon. Instead, Cinderella focuses on humor that rarely works (like James Corden’s huge head on a mouse body), an overstuffed, meandering soundtrack, and underwhelming vocals to back it. Ultimately, live-action Cinderella peaked in 1997.

The cast is wasted in such lame roles, and the horror story’s uncertain tone falls far short of intriguing. So, despite one supremely frightening moment, this movie is not scary. It just stinks.

Addison Rae and Tanner Buchanan are magnetic leads in this reboot that pays homage to the first film, but fully stands on its own. It manages to cut through modern high school b.s. while transforming two posers into presentable, likable people.

Vacation Friends may be a touch predictable, but John Cena and Meredith Hagner will make you wish you had friends like them on your next trip.

The‌ Deer King may feel familiar to fans of Studio Ghibli, but it’s made with such dedication to the craft and the story that it results in a brand-new experience full of heart and action.