Alas, The Edge is a film that, quite ironically, loses it.

Godzilla and Rogue One director Gareth Edwards returns with an original (albeit derivative) science fiction vision: the story of a future war between man and machine, as told through the bond that develops between, well, a man and a child-sized machine. As pure spectacle, The Creator is often jaw-dropping in its imagery, its relatively frugal special effects, and the detailed depth of its futuristic design. It's shakier as drama and sci-fi – and in its sentimental depiction of synthetic humans just trying to live their synthetic lives, a bit out of step with the anxieties of our increasingly AI-dominated age.

Returning to cinema with a heartfelt look at the creative process, Michel Gondry dives back into filmmaking without a safety net, channeling all his artistic angst through an onscreen alter ego.

This grim, acclaimed Chilean Western will dazzle your eyes, even as it crushes your spirit with its true story of genocide.

Nicolas Cage’s live-wire performance fuels a compelling, if predictable, crime thriller.

It mixes the throwback feel of an old-school spy story with an engaging scenario about a tech-savvy CIA analyst thrust into the field for decidedly dark reasons. The direction and a strong cast help sell this vibe and make for an entertaining time, even if it comes to a less-than-satisfying conclusion.

A quick, funny victory lap for anti-establishment Redditors and stonk enthusiasts.

Leaning away from blood-pumping thrills and towards family drama, Ferrari benefits from another great turn by Adam Driver and a handful of masterfully choreographed race scenes but is ultimately too risk-averse.

Almost 20 years into the franchise, Saw X showcases an emotional depth that manages to take one of these stories higher than ever before. Make no mistake, though, the traps are still on full display and Jigsaw still has full intent to showcase the true evils of humanity.

Totally Killer may not reinvent the wheel, but its blend of Scream meets Disney Channel Original movie gets the job done quite admirably. The cast and the story’s heart makes up for any technical missteps, and while it definitely falls into the usual time travel traps, it makes fun of itself while doing so!

A passionate, well-intentioned deviation in style, Hamaguchi Ryusuke’s Evil Does Not Exist doesn’t quite hit the mark with its meditations on nature. However, in its best moments, it’s another entrancing dramatic piece from the Japanese maestro, whose strengths lie less in observing natural environments, and more in observing people’s nature.

In the hit-and-miss subgenre of horror anthologies, V/H/S/85 is a shining beacon. Filmmakers are given the space to explore a gamut of ideas, none of which feel restrained to fit a specific anthology mold.

An affectionate take on a much-romanticized subculture, The Bikeriders purrs along rather than zips, but its stellar cast ensures a smooth ride as Jeff Nichols offers some insights into the highs and lows of a legendary motorcycle gang.

You’ve likely never seen a movie that tackles the specific loneliness many gay men still face today, and this one is laudable for that alone. However, All of Us Strangers airs on the side of saccharine, especially towards the end, and it would benefit overall from some more human ugliness.

Eli Roth finally adapts his fake trailer into a real slasher movie – and it’s not without its nasty charms

A super-charged genre throwback that obscures its meaning but has an alluring visual texture, Divinity is completely unique in its conception of sci-fi dystopia, for better and for worse.

Society of the Snow humanizes the gruesome tale of a group of rugby players trapped in the Andes.

Mean Girls is a winning, entertaining reworking of Tina Fey’s 2004 comedy. Featuring a collection of strong original songs and a successful updating of the story and messages, it's a musical reimagining worth watching.

The setup is forgettable, but Stopmotion builds to a grotesque and darkly beautiful finale that’s a great showcase for stop-motion animator Robert Morgan.

While Anyone But You isn’t a bold new take on traditional romcom formulas, it becomes an infectiously sincere and easily watchable movie featuring a charming ensemble cast and great situational comedy.

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

Concrete Utopia is a polished disaster drama with a bleak and brutal view of human nature.

Not as memorable as the ’80s and ’90s high-school romps and creepshows it pays tribute to, there's still lots of gory fun to be had with director Zelda Williams’ feature-length debut thanks to Newton's electric lead and the sparks she throws off opposite Cole Sprouse’s game portrayal of a reanimated corpse.

Starve Acre is a rousing addition to the British folk horror tradition with intensely emotional lead performances that takes viewers on a nostalgic journey into pagan ritual.

A self-reflexive love letter to Hollywood stunt work, The Fall Guy is the perfect vehicle for Ryan Gosling’s comedic timing – not to mention, his romantic charm alongside an equally dialed-in Emily Blunt.

While its chaotic new cast serves a clear purpose, Inside Out 2 is more metaphor than meaning. It explains plenty about the confusing emotions associated with puberty, often in intelligent ways, but it rarely lets them be felt or experienced, the way its predecessor did.

If the animation is nothing special, the script is better than what drives most animated movies aimed at a young audience. And you can certainly feel Kaufman’s neurotic touch on the material.

Not a deeply probing Hollywood documentary but filled to the brim with fun behind-the-scenes footage. The Boy Who Lived is a likable, grounded, and heartfelt portrait of a Harry Potter stuntman whose career was cut far too short.