Introducing, Selma Blair rips the Band-Aid off society’s view of chronic illness with a raw portrayal of her medical diagnosis that is authenticated in its emotional and physical intensity.

Trachtenberg and company have put together a crackerjack monster pic, full of clever new approaches to old material. Those looking for the familiar will recognize plenty of callbacks to other "Predator" films . . . while anyone searching for new thrills will get a kick out of the film's genre mash-ups.

There is something about the humanity of this specific type of dread that seeps into your bones and hangs on for dear life. It’s the type of horror that taps into the fears we’re either too afraid to articulate, or would rather keep to ourselves lest we be judged.

Tatum and Johansson are the stars of the show, oftentimes conveying with a mere look what entire monologues couldn't have accomplished. These are the two engines propelling the movie into the stratosphere, taking what could've been a disposable, forgettable effort and transforming it into an experience that'll have you floating on air out of the theater ... likely as you hum a very apt Frank Sinatra tune to yourself.c

The movie works mainly because of the magnetism and sincerity of its cast, who are giving it their all throughout. Engels and Noel have excellent chemistry, and their world is populated with charismatic, dynamic supporting players, best represented by Saunderson’s maximalist take on Mercutio. If this is what it takes to introduce a new generation to a classic story, so be it.

I'm not quite sure what "Leave the World Behind" is trying to say, other than the fact that as a species, we seem to be inherently doomed because we're too neurotic to help ourselves. That might leave a sour taste in the mouths of some viewers, but there's something refreshing about a film so unapologetic about its unflinching hopelessness. 

In Coppola's mind, all that matters is the work, and the act of creating it. We are lucky he returned to make a new movie, and even in its messy, muddled state, we are lucky to have Megalopolis.

Though Leo is perhaps not the most groundbreaking animated film of the year, its gentle tone and emotion mixed with some standard anarchic gags from the Happy Madison school of comedy work in its favor.

While it doesn't break any new ground in the horror space or do anything super mind-blowing from a narrative perspective, Hatching is a successful (if somewhat flat) exploration of that transitional period in one's life when an earlier version of yourself dies and a new version stands in its place.

The Killer is a pretty cool made-for-streaming action film with solid performances, fun set pieces, plenty of melodrama to go around, and Woo's signature wordplay that may inspire eye-rolls from some but a sensible chuckle from those of us with good taste.

Whatever the flaws of The Conjuring series as a whole, "Last Rites" feels like a worthy conclusion.

Beetlejuice Beetlejuice is a small film, one that is comparable in size and scope to the original. Its greatest ambitions are to funky and freaky and weird, like it wants to make the filmmakers laugh first and hopefully the audience comes along for the ride.

Lightyear may not reach the heights of the great sci-fi movies that it pays tribute to, or even the "Toy Story" movies themselves. But it's a visually impressive, escapist riff on the sci-fi epic that, at the very least, might become the favorite movie of some kid, somewhere.

More than anything else, Thanksgiving is a gnarly, entertaining, and gleefully over-the-top fright fest — one that demands to be enjoyed in rowdy midnight screenings at repertory theaters for years to come.

It's a standard talking head documentary with plenty of archival footage, as well as some cool, animated interstitials to introduce the album artwork being discussed. But it's the stories from the fathers (hell, they're even grandfathers now) of classic rock and roll, combined with insights from Hipgnosis, that make this a fascinating film.

It's rough around the edges when heavy special effects are required, yet proficient in shanty-shady tones and detectable darkness that hides secrets from one sequence to the next. It's an experience that lulls you in with hospitality and scored choral chants, plunging its stinger once you've become helpless beyond defense.

The plot grows more elaborate and fantastical, but the film itself has its feet firmly on the ground, and Soderbergh seems solely committed to giving us a quick, mid-budget, ultra-sturdy thriller with no pretensions — the type Hollywood doesn't really make anymore.

All These Sons falls short of Liu’s tremendous documentary feature debut, but shows that the Minding the Gap filmmaker is capable of tackling a complicated and knotty subject with the same kind of laser-focused intimacy that he showed in his first autobiographical outing. There may be a distance to All These Sons, but its clear-eyed compassion makes it a solid and effective follow-up.

One thing's for certain — R.M.N. is by no means a pedestrian affair, with Mungiu's mastery of the Transylvanian landscapes the perfect backdrop for the exploration of some heavy issues. There's a lot to unpack by the time the credits roll. But it's deserving of every stray thought you'll return to in the days after watching it.

The film is a haunting curiosity, a movie that exists on the cusp of both folk horror and cosmic horror without resolving that tension.

The return of Madeleine Swann (Léa Seydoux) makes a strong case that extended continuity is an albatross around this franchise's neck. And Malek's Safin feels like a rough draft, only ever half there, never landing the way a classic Bond villain must. These are tough hurdles when the film is meant to be a grand swan song.

Fall doesn't break the mold, and there are a wealth of one-location thrillers that are much better than this. But when you're climbing that tower with Becky and Hunter, you can't help but follow along, nervous, but still exhilarated by the journey. Watching "Fall" on a big screen and experiencing the nerve-shredding vertigo that comes from the proceedings is the kind of pulpy fun that memorable late-summer movies are made of.

Sometimes the jokes aren't funny so much as they are vindicating; it's cathartic to see a movie capture all the little insulting ways that low-wage workers are often treated. 

A mesmerizing exercise in the mundane, Days is almost completely free of dialogue — and intentionally unsubtitled for this reason — inducing a kind of calm hypnotic state that makes the viewer even more aware of the sharp stabs of loneliness felt by his longtime muse Lee Kang-sheng.

Relative to some other Netflix Originals, as well as some other recent romantic comedies, this movie has some pretty solid laughs. But there are a number of moments in this new film where the script backs away from being more provocative or difficult. It's a shame too because the cast (Hill included) seem able and willing even if the material doesn't always want to take the same plunge.

If you loved Universal’s Mummy but wished it had more Peter Cushing and Christopher Lee, here you go.

As a showcase for its legendary leads, and as late-night snack for those who like scores synthesized and their blood practical, it’s certainly a good enough time at the movies.

If you want to watch a bunch of silly rich people get murdered by a unicorn, this is the film for you. And if you want to watch Jenna Ortega co-lead a horror/comedy slasher movie again, you're gonna have a good time.