The overall experience is chilling to the extreme. The type of chill that seeps its way into your bones and leaves you unprotected and unbalanced.

It's silly at times. It doesn't take itself too seriously. Yet, it also has something pretty loud and timely to say. It goes hard with the gore when it needs to. The movie feels a little long in the tooth at times, particularly before we figure out what's going on, but that's a minor crime compared to what Nelson got away with here.

Next Exit is a moody and haunting character exercise, centering around the terrific central performances by Katie Parker and Rahul Kohli, but a little underbaked otherwise.

When Mooney is in joke mode, sprinting from gag to gag without room to breathe, Y2K is a great time at the movies: a midnight movie in the truest sense of the word.

I had oodles of fun watching Raimi go wild and give McAdams a chance to play the type of unhinged weirdo she hasn't really played before.

Like its title character, this old hound finds new tricks and delivers a fitting "Peaky Blinders" coda that won't disappoint.

While I would've liked the layout of the house to be better established, No One Will Save You makes the most of its limited locations, proving you can have big thrills and chills in restricted spaces.

Featuring great performances from its two incredibly bearded leading men, and bosting a twist that offers something truly unique to the true crime genre, The Stranger takes loose inspiration from a true story to deliver a bleak yet subdued thriller. Sadly, the film banks everything on this reveal, which recontextualizes everything that came before but deflates all the tension.

All of this unfolds at a rather brisk pace, but sooner or later, "Weird" starts to run dry. While the film is consistently funny — I laughed out loud, and I mean really loud, on more than one occasion — the narrative begins to drag, giving one the sense that Appel was right to make this a short film first, and that maybe, just maybe, it should've stayed that way.

Even if Master Gardener can feel like a bit of a potboiler moral drama, the heat generated is proof that Schrader can still bring the fire. The filmmaker grapples thornily and thoughtfully with difficult issues and destructive people, finding new ways to approach the questions that still haunt him.

This may not be the epic "Power Rangers" reunion some fans may have hoped for, but Mighty Morphin Power Rangers: Once & Always is very much the love letter to the last 30 years of this franchise, where it all began, and where it is going.

Action junkies, horror fiends, and romance enthusiasts have seen all of this done before and done better, sure. But it's a rare kind of gem that even attempts to pack all of these disparate elements into the same package. It's an even greater (dare I say pleasant) surprise that the last group will be the one walking away most satisfied by this, when all's said and done.

Inside Out 2 may not reach the emotional highs of the first film, but don't be surprised when it reduces you into a sobbing mess at the end.

For films like Encanto to truly stand out, instead of being content with being good enough, they need to push storytelling limits as much as they push cultural ones.

It’s easy to enjoy the film’s light, airy charms, but once it’s over, you’re left feeling a little empty.

Perhaps The Killer doesn't need to be anything more than what it is: a showcase for Fincher to do his thing, and do it well, just like the assassin at the center of the story. This is a lesser work from the filmmaker, but even his lesser entries are better than most of what we get these days. Sometimes it's okay to let an artist play the hits.

Blood Quantum makes some important points, gives us stuff to care about and then drenches it all in audacious gore. And isn’t that exactly what we want from our zombie movies?

Dune: Part Two is a rare big, expensive blockbuster with a lot on its mind. Not content with just spectacle (and boy, there is a lot of that), Denis Villeneuve's sequel packs in heavy thoughts on religion, war, revenge, romance, and yes, really big worms. It's not entirely successful, but gosh, you gotta appreciate the attempt.

Maestro may present exhilarating moments of musical performances, but unlike the story's subject, it is a rather forgettable experience. Still, Cooper continues to show promise as a director, even if the script he co-wrote with Josh Singer is not up to par.

It's a solid Friday night spookshow with solid bones and a divisive finisher — harmless horror entertainment that at least strives to be better than ordinary.

Truthfully, there's a shorter iteration of "Slash/Back" that I'd adore — but I still like what premiered at SXSW. You can't help but want to champion the film's trademark sweetness, shining a light on badass little girls who take on their entire community's enemies.

Like all classic underdog stories, director Peter Nicks' Stephen Curry: Underrated is about determination. But it's also about second chances, and how believing in and supporting someone in their lowest moments can have life-changing consequences.

It's romantic escapism at its finest, a brief diversion from our grim reality that is just novel enough to make it worth our time.

Tension is the name of the game, and Shyamalan knows exactly how to build it. It rises and builds to the point of breaking. This might be the filmmaker's most intense film to date, and while there are occasional bursts of genuine humor, "Knock at the Cabin" is more concerned with leaving you perturbed and unsettled by what you're witnessing. On that front, Knock at the Cabin is a success, even if its script can't quite match the visual intensity. Whatever is lacking here is balanced by Shyamalan's filmmaking. Say what you will about the director, but he's still got it.

Even if you're not totally on its wavelength, watching Chokri's stylish fable is like panning for gold: It will present you with several nuggets worthy of closer examination.

Den of Thieves 2 frequently feels less abrasive than the first film; almost kinder. At the same time, there's still a scuzzy, energy drink-infused atmosphere at play that only adds to the charm. This is junk food cinema, and sometimes, that's exactly what you're hungry for.

Furies is a double-barreled adrenaline shot of ladies-first action extravagance that shines a light on Vietnamese genre cinema.

The search for one's identity is never an easy one. "Return to Seoul" understands that, and allows us to live in — and finally, accept — that uncertainty.