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.

Love is put to the test in Greek director Christos Nikou’s Fingernails, a sleek sci-fi film about a near-future where couples can scientifically test their love by removing one of the titular body parts.

It takes a remarkably self-assured filmmaker to turn such a lurid tale of abuse into something so wildly entrancing and entertaining, but Todd Haynes’ mix of tenderness and camp is a perfect fit for May December.

Justine Triet's courtroom drama-thriller Anatomy of a Fall choreographs a riveting dance between tragedy and the transference into survival mode via the manipulation of reality and the power of invention. With star Sandra Hueller in full control of a bold and emotional script by Triet and and co-writer Arthur Harari, the consequences of a fractured marriage make for a deeply engrossing watch impossible not to get sucked into.

Dear David tries its best to scare, but it never quite brings the spookiness it promises. It suffers from trying to do a bit too much with the living characters and not enough with the dead ones. Also, way too much lens flare.

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.

David Slade's long-delayed creature feature is ludicrous nonsense enlivened only by the occasional splash of gore.

While Bertrand Bonnello’s film is a timely, somewhat satirical send-up of dystopian futures and past traumas, The Beast doesn’t quite measure up to its heavy portents of doom.

When Evil Lurks is a capital “H” horror film that risks it all and hits the jackpot, pummeling its audience into submissions and still leaving us asking for more.

Aside from a few pacing issues, Saltburn delivers an uncompromising vision from Emerald Fennell, an Oscar-winning writer director with a unique voice. It not only capitalizes on the kudos she received for Promising Young Woman, but cements Barry Keoghan’s leading man status.

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.

Few Hollywood genre films are as honest about capturing the underlying reasons relationships implode; even fewer are as adept at turning that implosion into razor-wire corporate drama.

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.

Eileen is a nifty little shapeshifter of a thriller made of tremendous parts, just lacking a bit of steam upon exit.

The result is a visually rich film that finds moments of entertaining inspiration but suffers from a frustrating lack of focus.

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.

Despite a capable cast and crew, Foe is a muddled mess that feels more like Black Mirror Lite than powerful sci-fi commentary.

Pet Sematary: Bloodlines tastes a bit better than a nothingburger, but lacks seasoning that you’d hope for from something tied to Stephen King’s bibliography.

Though its predestined, blockbuster exorcism sequence just manages to provide a satisfying conclusion to the story, the underdeveloped synchronized possession element creates more problems than it solves and adds bloat to a movie which would have benefitted from a leaner, more measured approach.

PAW Patrol: The Mighty Movie feels more like a legitimate feature film than its predecessor, but it’s still well within the realm of distractor cinema rather than something parents would want to watch with their kids.

Benicio del Toro's understated performance as a soft-spoken detective is about the only interesting thing about this new Netflix thriller, which drowns a thin murder mystery in lots of ominous atmosphere.

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!

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.

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.

It Lives Inside feels desperate to project specific cultural experiences, but it has neither the tact nor the aesthetic flair to weave a competent horror movie around them.

What it lacks in so-bad-it’s-good silliness it makes up for with its heart and mostly practical slaughterfests. Kevin Bacon and Peter Dinklage having an absolute blast in their roles doesn’t hurt, either.

No One Will Save You is at its best when it marries the tension of a home invasion thriller with the thrills of an alien abduction film, and Kaitlyn Dever proves she has the chops to carry a whole movie on strength of her facial expressions alone. However, the film ultimately fumbles when it becomes both a convoluted action film and an on-the-nose parable about overcoming grief and guilt.

Expend4bles is a crushing disappointment that lacks any of the nostalgia, charisma, and charm that made the franchise appealing in the first place. Perhaps worst of all, this failed mission is boring. There is no pleasure taken in saying this once highly entertaining action franchise is well past its AARPrime. It would have been great to have rounded the series off with a fifth entry, but after this flat and uninspired effort, the franchise doesn’t deserve that last hoorah.