It’s easily the most straightforward of Argento’s films, and that works to its advantage in delivering a suspenseful thriller with bloody, terrifically crafted murder set-pieces... and a killer reveal that’s both surprising and satisfying.

The cast is dynamite across the board. The way they converse with each other feels wholly natural, as if they've been talking for years.

A sensory overload, Sound of Metal is one of the most fascinating films you’ll see all year. Even when Darius Marder‘s lengthy character drama isn’t quite working – a problem that persists in the final act – it’s always engaging.

Laugh out loud funny, strangely charming, and a truly unique endeavor, "Nude Tuesday" is exactly the kind of movie you love to discover on the film festival circuit, and it deserves to find an audience on the big screen, even if it's just for the indie crowd.

Broker is another showcase of empathy from Kore-eda, a movie about found families and finding a home with each other, about the small acts of kindness that can truly mean the world to someone. Though its tone doesn't always work and its runtime is excessive, it is an emotionally devastating and life-reaffirming movie that is hard not to sympathize with.

Dog is a little sentimental and travels down well-trodden paths, but its gorgeous execution and charming performances make it the feel-good film we could all use in the depressing doldrums of February.

This is a brutally honest look at a community seldom portrayed on screen with care or honesty, with a simple story that may not pack much in terms of plot, but packs a whole lot of authenticity and empathy, with a stellar cast of mostly first-time actors.

Paired with Danny Elfman's fizzy score, Raimi elevates "Multiverse of Madness" from the bridge-building bit of IP it so transparently is. While he doesn't quite elevate it to the "madness" that the film promises, he does, for a few brief, shining moments, show the kids how those superhero movies could be done.

Come to Daddy is a frenzied thriller pouring out Tarantino quarts of gore and laughs. Lurking beneath its surface, there’s also an unspoken philosophical contemplation on what it means to be a father.

Asteroid City is a top-tier Wes Anderson original that brings back the carefree fun and charm of some of his best works while also turning his own personal conventions on their ear in an attempt to try new things.

Fear Street is like a big soup pot full of everything – there are shades of Scream, A Nightmare on Elm Street, Stephen King’s It, Halloween, Friday the 13th, and more. Watching Fear Street brings back memories of wandering around musty video stores and browsing the HORROR section for the most lurid VHS box art you can find. There was something sacred about that experience, like going to church.

Though Munden attempts to overload our senses with rich visuals, The Secret Garden does end up feeling kind of slight, like the film rushed through the SparkNotes version of the story.

The routine genre elements are forgivable blips on a technically gripping journey through one woman's fight for survival in a world whose perils, like ours, are increasingly impossible to maneuver.

While I have a few complaints and there are a couple of head-scratching loose ends, The Flash is still a funny, emotional, action-heavy crowd-pleaser that ranks among the best DC movies ever made.

No other artform could quite present such a collision of time, place, idea and emotion, and it’s clear that Nolan’s pure intent is to give us the utmost of what this medium can uniquely provide. At its best this is a ride that manages to be viscerally thrilling while still being emotionally and intellectually engaging, all in ways that are truly, uniquely cinematic. In other words, say what you will about the tenets of Tenet, at least it has an ethos.

Dream Scenario is a sprawling dissection of subconscious desires and how marketable popularity spells doom for its subjects, showcasing Borgli's flexible originality without sacrificing emotional investment.

There's a goofy sincerity to the movie even as it sends up better movies that came before it (complete with corny needle drops), and it retains that old Hollywood screwball spirit that gives it a timeless feeling. It's nothing new, and lord knows it's nothing groundbreaking, but boy, is it fun.

The result is a lively, kinetic film that dances between the natural and the fanciful, centered on a dynamo of a cinematic character played by the first-time actress.

Sprawling and brutal, The Devil All the Time is not for the impatient or the squeamish.

Magazine Dreams will alienate some viewers, but even those who aren't able to get on board with what Bynum is doing will be unable to deny how incredible Jonathan Majors is here. It's the type of unique, highly memorable performance people talk about for years to come.

While a full 140 minutes of this can get occasionally exhausting and tedious, Aïnouz makes it more than worthwhile in his stirring conclusion when the full impact of a life apart becomes wrenchingly apparent.

There's good reason to be excited for how Green will bring this all to a head in his grand finale. Halloween Kills manages to put a playful but petrifying spin on mythology without resorting to cheap self-referentiality.

Cats Don't Dance is hilarious and infectious. Dindal was clearly a student of 1930s Warner Bros. cartoons, and wasn't interested in the slick, human figures of a Disney film. He wanted to go off-model, letting the characters squash and stretch with the best of them. 

From a movie-making perspective, The Trial of the Chicago 7 is sturdy but not particularly revelatory. But as a delivery system for great performers rattling off great dialogue, it’s almost unbeatable.

In lesser hands, Challengers would have been a chintzy soap opera. Guadagnino, however, is able to bolster an admittedly typical soap story with an energetic style and attention to detail.

While occasionally frustrating to watch the film spin its wheels into repetitive or monotonous territory, the magnetic pull of simply watching Blanchett hold court on-screen is undeniable.

As the horrors of The Royal Hotel unfold, the film shifts from a terse thriller into a full-on horror, assisted by appropriately and effectively eerie cinematography from Michael Latham.

It's A Wonderful Knife might make its points with steel blades, but that doesn't negate the saccharine earnestness that assures this one as a new Christmas horror favorite with a heart three sizes bigger than you'd expect.