A caustic portrait of the rat race as legitimately killer, and another feather in the cap of one of world cinema’s true maestros.

Even at its stagiest, it’s a film that, courtesy of both its director and star, burns with unbridled passions.

[Gudegast] infuses his inspired-by-real-events tale with the muscularity of its metal-titan namesake, all while pivoting everything around the grungy, rugged charisma of his star.

Habitually shooting her characters through narrow doorways and windows, the better to convey their isolation as well as their squeezed-by-circumstance states, the director fashions a sinister atmosphere, aided by intermittent pregnancy and corpse imagery.

A joyous return to form for the Evil Dead auteur, whose no-holds-barred verve is equaled by that of Rachel McAdams.

With an unhinged Sally Hawkins spearheading its mayhem, this sinister saga firmly establishes the filmmakers’ place near the head of the contemporary horror class.

Ultimately, the truths of Hard Truths are as simple and poignant as they are difficult to initially discern. An unmistakable certainty, though, is that this reunion of Leigh and Jean-Baptiste was too long in the making—and should be repeated once again post haste.

A gripping, unnerving, and altogether thrilling saga that both continues its predecessors’ illustrious legacy and initiates what’s shaping up to be a promising new horror trilogy.

True cinema is John Lithgow terrorizing Geoffrey Rush in a nursing home with his creepy hand puppet.

On top of being a no-holds-barred action movie, The Fall Guy is also the best studio rom-com since Crazy Rich Asians. Gosling and Blunt make for an intoxicating duo, and Gosling really runs away with the rest of the movie, too.

A stirring celebration of bravery, camaraderie, and human ingenuity that goes big in every respect, not least of which by recognizing and foregrounding the majesty of larger-than-life movie stardom.

Mordantly, head-spinningly convoluted, it’s a unique take on the director’s favorite themes, laced with bleak wit and encased in an icy chill that’s fitting for a tale fixated on the grave.

With Ian McKellen in superbly crotchety form and Michaela Coel exuding chilly cunning, it’s further proof that Soderbergh remains one of American cinema’s most inimitable, and adventurous, auteurs.

The director’s latest is a distinctly cool, dynamic Soderbergian riff on Michael Powell’s "Peeping Tom" via "The Haunting," with a dash of "Paranormal Activity" sprinkled around its edges.

Rock ‘n’ roll portraits this vibrant, introspective, and nimble don’t come around very often.

Its poignancy and humor is amplified by its canny decision to let Fox tell his own tale.

Provides a remarkable snapshot of the war crimes that—as the daily news reminds us—are still being perpetrated today

A delightfully zonked marital satire that lurches in various demented directions.

An electric thriller with blood on its hands, flesh in its mouth, and deviance on its mind.

Together, [Culkin and Eisenberg] make for a winning pair, balancing each other in a variety of ways that speak to the material’s larger concerns about loss, grief, remembrance and regret.

Taut and entrancing, it’s a stark reminder that adolescence sucks.

One of the director’s finest, its thematic scope and emotional power growing with each new revelation.

A small-scale tragedy about arrogant intolerance and self-centeredness that’s at once highly specific and, more depressing still, universal.

With wit, wonder, warmth, and a few wink-wink nods to the Indiana Jones movies, it’s further evidence of this franchise’s cute and cuddly preeminence.

A giddy grotesquerie that has midnight-movie crowd-pleaser written all over it.

Not for the faint of heart but precisely the sort of nightmare that fans of Cronenberg (and his father David) crave.

The horror is so creative and over the top, you don’t mind the lack of world building.

An old-school melodrama of pride, folly, and sacrifice that’s electrified by yet another superb turn from its leading man.