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

Barbarian is one of the wildest horror films in years from its combination of subgenres to full-throttle approach to unapologetic exploitation themes.

We’re All Going to the World’s Fair is a moody, slow-burn horror drama about loneliness online.

Guillermo del Toro’s Frankenstein is a crowning achievement for the beloved genre director and one of the most effective adaptations of the Mary Shelley story ever put to film.

Certainly weird, confrontational, wildly satirical, and certainly unique, Sorry to Bother You is one of the funniest, energetic, and best films of the year.

1917 is an expertly crafted and emotionally exhausting thrill-ride behind enemy lines. Gloriously shot, deftly paced, and striking in its gruesome recreation of the time and place, Sam Mendes’ 1917 wisely never loses sight of the smaller, intimate elements in a fast-paced story with immense scale and action.

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.

With his latest directorial effort, Soderbergh has made a film that not only constantly pokes fun at its own characters and their lives, but finds a way to imbue each of them with a soul and heart along the way.

It's more oriented to the kiddies than Nightmare, but if you want something to watch with your little cousins or nieces or something that will give you something to enjoy as well as them, and you've already seen Tarzan 28 times, check this one out.

Nosferatu is Robert Eggers' finest work, given how it both boldly stands on its own as a gothic vampire drama and astutely taps into the original texts — F.W. Murnau's silent classic and Bram Stoker's novel Dracula.

With a stunningly raw performance from Danielle Deadwyler, Chinonye Chukwu’s Till lives in the body of a traditional biopic — about Mamie Till-Mobley in the aftermath of her son Emmett’s lynching — but it turns real events into regretful, wistful memories, with a camera that refuses to look away from a mother’s pain.

Obsession should and will put Barker on the map as a horror filmmaker you need to watch. Thanks to fantastic turns by Michael Johnston and Inde Navarrette, you'll be addicted to this sour Valentine's Day counterprogramming.

KPop Demon Hunters is a stunning animated action musical with terrific fight sequences, catchy musical numbers, and an ample amount of harmony and heart.

Jordan Peele’s Nope is a bleak, hilarious sci-fi-horror romp, and one of the most entertaining summer movies in years.

It still seems like a stunning achievement to this day.

There are moments when Longlegs feels like a movie you’ve seen before, but with an evil filter laid over it: This is both a weakness and a strength, as Perkins’ horror surrealism renders the familiar strange, and the strange familiar.

A harrowing tale rooted in real events, Women Talking takes a stage-like approach to its debate between victimized women in a commune, but imbues it with cinematic flourishes. It’s also one of the rare ensemble movies where every single performance makes it worth watching.

Best of all, it's just a story of a kid's Christmas. There is no big spiritual redemption, no one has to learn a lesson.

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.

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.

What was boring and dull to our 12-year-old selves back when Dad was watching this film 25 years ago is now a thoroughly engrossing and satisfying film experience, and a reminder that what is old can be new again -- whether it's Newman's Galvin's outlook on life, an old courtroom drama premise, or a movie revisited after a quarter century lapse.

The bold risk of transforming Robbie Williams into an enjoyable CGI chimp pays off both emotionally and visually. Turning his back catalogue into epic musical numbers with stunning choreography and heart-wrenching storytelling, Better Man comes out swinging and winning.

With a playful camera that rushes through space and embodies a ghostly spirit, Steven Soderbergh’s resourceful haunted house thriller is a midnight genre romp.

I, Tonya is a fairly conventional biopic of the scandalized sports star, but one buoyed by Margot Robbie's performance.

Project Hail Mary is a rollicking sci-fi blockbuster celebrating how much we can accomplish when we work together… and how much meet-cute mileage you can get out of watching Ryan Gosling befriend a rock alien for two and a half hours.

It’s nice to see June Squibb land a starring role for once, but her quest for revenge in this Sundance crowdpleaser is more cutesy than charming.

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.

Kane Parsons blends superb visuals and excellent characterization with the lore of the Backrooms to create a terrifying and thrilling big-screen debut for the liminal horror classic.