Nocturnal Animals confirms Tom Ford as an essential director, as he gives us two dazzling stories that combine for one powerful movie experience.

Part of Hamilton’s brilliance is this reclamation of U.S. history.

Julieta is a timeless and mature examination of femininity and guilt that marks a return to form for director Pedro Almodóvar.

Chalamet might start off shaky, but once this splendiferous film is in the swing of things it brings out the classic Dahl magic... and menace.

A macabre masterpiece, Joker’s social relevance may be disputed for years, but the film and its star may never be denied the grandeur of their cinematic revolution.

Personal Shopper is enigmatic and inventive. This is daring and rule-bending filmmaking at a minimalist scale, a personal, contemplative horror movie, stripped of observable fright but full of unease.

Blazingly and brilliantly over the top, Jojo Rabbit’s total dismissal of subtlety is its most ferocious ally and, only occasionally, its most frustrating foe in the war against hate.

Huesera is a sermon, a spell, a treatise on how destructive societal expectations and motherhood in general can be to someone’s identity.

Hustlers is intoxicating, surreal and a party you never want to end. It also helps when you have great actresses. Everyone here dances off screen and into our hearts. That goes for Lopez in particular.

The Endless is a masterful cinematic echo chamber with incomprehensible depth. You will feel, laugh and be forced to address emotions shared with all on-screen personalities.

Just like the star-crossed lovers at its center, this West Side Story risks it all, and the result is an explosive reminder that life and love are both gifts worth celebrating, for we never really know how long we have to enjoy either one.

Spoiler Alert is a film that tells a story of a not-so-perfect relationship that will make you laugh, cry, and feel like you're part of Michael and Kit's life.

Big on spectacle and bigger on life lessons, Spirited manages to surprise, inspire and entertain in equal measure.

It's truly never been more fun to watch three people be absolutely despicable to one another than in Luca Guadagnino's tennis court love story.

Dakota Johnson and Sonoya Mizuno lift this reinvention, with some genuinely engaging performances.

This is a glamorous, commanding and important watch, primed to corrupt audience minds for a multitude of passionate reasons – first and foremost of which is that Takal stages one damn fine free-thinking thriller.

For viewers who want to understand Bob Dylan as an artist, A Complete Unknown more than fits the bill. It’s an exemplary character study that doesn’t skimp on the hits that made the musician an enduring icon. The film is unabashedly itself, just as its subject matter is.

If your script is good enough to pull Steven Soderbergh from “retirement,” color me intrigued. Such is true of Logan Lucky. An Ocean’s 7-11 hootenanny with Southern charm and Coen sensibilities.

Alfred Hitchcock's Strangers on a Train is an expertly made thriller with fluid camera work, dark humor and enough cliff-hanging build up to keep you biting your nails until there's nothing left. Easily one of Hitch's most underrated films.

John Wick: Chapter 3 – Parabellum is a gunsmoke hazy, bloody-knuckle ruthless, impossibly badass Wickian continuation.

Bottoms is never afraid to have fun, even when it comes at the cost of a reasonable plot or political correctness. It's an hysterical teen movie featuring two of the best talents of this generation who have nailed the balance between the ridiculous and the important.

While its dedication to fan service occasionally holds it back, 'Alien: Romulus' is still a thrilling addition to the franchise, thanks to director Fede Álvarez's dedication to visceral practical effects and new twists to the canon.

Ultimately, The Honor Society feels like a small-scale charm offensive featuring some genuinely engaging characters. If the worst thing audiences can say is that it feels derivative and shows too much love for John Hughes, then so be it. In the end, there may be few surprises on offer in this teen dramedy, but it is still guaranteed to make you smile.

Beneath this movie’s conventions are some interesting gender politics that perhaps could have been made more apparent, but to its credit, are pleasantly subtle.

In a time when identity, image and awareness are key to any discussion, A Quiet Place Part II demonstrates the possibilities of stories in the hands of those uniquely suited to explore them.

As people have been forced to spend extended periods away from loved ones, often in less-than-ideal circumstances, God’s Country is certain to hit home hard.

John Krasinski orchestrates a loud and ferocious symphony of sonic scares that will assert A Quiet Place as one of the year's most terrorizing films.

Dungeons & Dragons: Honor Among Thieves' manages to put a winning spin on the fantasy genre with its high-stakes plot, compelling characters, and a huge world with opportunities to share more stories.

Audiences unfamiliar with Herzog will be largely baffled by this eccentric and meandering eco-drama, but aficionados will find much to enjoy here.

She Said is a movie that checks all the marks regarding the treatment a matter of this kind warrants, despite a number of shortcomings that affect its cinematic value.

Certain Women more than justifies itself as a serious argument for the beauty of the small and intimate drama and the importance of female-driven filmmaking.

What this film celebrates more than anything, is the fact that it’s never too late to make a change.

Professor Marston is a sweet, saucy biopic about unconventional love and iconic origins (plus bondage!).

Delving into the intricacies of friendships, the way a lie can spiral out of control and the dangers of mixing politics and business, Norman: The Moderate Rise And Tragic Fall Of A New York Fixer is a compellingly complex and playful take on the political thriller.

From BAFTA-nominated director Aleem Khan, and BAFTA-winning actress Joanna Scanlan, this visceral exploration of grief offers one of the most honest and generous representations of middle-aged womanhood in recent memory.

Doff’s directorial debut bursts off the screen with eccentric energy and yet, retains a relentless sense of duty to the company its characters keep. It’s effectively touching as a display of camaraderie, equally ridiculous, and a great deal of fun.

Thankfully, it shines for much of its 161-minute runtime, making for a rare marriage of heart and spectacle that lands perfectly. It also makes room for us to experience grief in all of its complexity, a rare thing in movies, let alone blockbuster superhero franchises. That catharsis alone is worth celebrating in the wake of so much loss.

Crawl is a sensationally thrilling aquatic nightmare filled with carnage, bubbling chaos, and all the creature-feature intensity that makes this the summer's must-see horror event.

Mayhem is a wonderfully violent middle finger to corporate culture, gleeful in its desire to redecorate cubicles with red blood splatters.

Carving off a slice and stepping things up a notch, Jonathan Majors delivers another formidable performance in 'Magazine Dreams.' Packing on the pounds and dialing that drama up to 10, audiences will finally get what makes this actor so special.

It might be a tad light when matched against the wittiest mysteries, but for all intents and purposes, The Girl On The Train is a tightly-wound Hitchcockian ride wrought with tension. Elements of voyeurism, self-loathing and murderous intent mix together in a volatile cocktail stirred gently by director Tate Taylor, who doesn’t dilute a single ingredient.

Evil Dead Rise is rightfully gruesome and peculiarly ghoulish. And it makes it worthy of a theatrical experience.

We Live in Time packs an emotional, surprisingly meditative punch in the form of one of the most beautiful romance films of the last decade.

The Apprentice forgoes subtlety in favor of skewering its subject and eventually reveals that deep down this biopic was a horror movie all along.

This bombastic Western debut heralds a new voice in cinema.

The Lure is powerful enough to cast an obsessive spell on anyone watching.

A Quiet Place: Day One is a gripping prequel that balances emotional depth with thrilling suspense. Lupita Nyong'o's standout performance and the film's fresh take on the franchise make it a must-watch, despite some predictable plot points.

It may not quite reach the heights of Raimi’s Spider-Man 2, but Spider-Man: Homecoming emerges as one of the character’s strongest films to date, granting him a clean slate and infinite room to grow.

The Edge Of Seventeen boasts an emotional journey filled with wit, humor and heart, resting easy on the back of Hailee Steinfeld's dynamite performance.

Michael Moore points all 17 of his fingers in all directions during his latest ferocious, if scrambled film, surprisingly avoiding individual attacks and instead convincingly describing what role we all played in this globally-recognized disaster.

In His Three Daughters, Azazel Jacobs provides the very unique joy of a simple, yet perfectly executed story about universal human experiences.

The acting, craft, and tone of Sicario are so precise that the absurdity of this cartel yarn is both its greatest weakness, and maybe its entire point.

In A Valley Of Violence is built on intense shootouts, vicious criminals, crooked lawmen and everything that makes Westerns exciting, but its entertainment value comes from a tonal brew of all the right tonally-combative spices.

Furious 7 is an in-your-face assault of awesomeness under the guidance of James Wan, who saves a more lax story by orchestrating a metallic ballet of kick-ass proportions.

This vibrant indie rom-com from director Raine Allen Miller dives into the cultural melting pot of a globally recognized city, yet showcases it through the eyes of Yas (Vivian Oparah) and Dom (David Jonsson). Slick, funny, and charming - 'Rye Lane' is one to watch.

In a world where everything is hyperconnected, Pirates looks to revel in a simpler time when neighborhoods were worlds unto themselves. This reveling is something it achieves with flair and room to spare, as a fully-fledged writer-director steps up to make his mark.

The Integrity of Joseph Chambers' is a staggering study of fractured masculinity.

There is something undeniably romantic about film noir that that makes Neil LaBute’s Out Of The Blue one of his most alluring cinematic concoctions to date.

Prisoners isn’t bringing much new to the tradition of crime thrillers and missing children horror stories, but it does speak mightily to how quality of craft separates an airplane page-turner from a minor triumph of pulp poetry.

A surprisingly uplifting film about a very difficult topic, Youth In Oregon's remarkable ensemble cast elevate the story into something unique and profound.

The Little Mermaid is not just another useless, soulless remake from the Mouse House. Not only does it give the gift of Halle Bailey as Ariel, but it also fortifies its predecessor's story by adding much needed narrative context and emotional pull.

Intellectually vibrant and emotionally complex, Things To Come is a luminous film drawn along by Huppert’s central performance and Hansen-Løve’s delicate script.

Ari Aster continues on as filmmaking’s ringleader of grief in Midsommar, an unsettling, often shocking portrayal of cultic life that’s rich with both ambition and beauty.

Fresh takes, classic gags, and excellent performances from its leads elevate an occasionally clunky and very packed script into something well worth watching.

Tom Cruise has only gone and done it again, with 'Mission: Impossible - Dead Reckoning Part One' delivering a stunning summer blockbuster that'll leave you wondering how it can possibly be topped next summer.

Thanksgiving is a definitive passion project built on satisfyingly gory visuals, compelling storytelling, and inventive kills that provide a holiday treat for die-hard slasher fans.

Tom Holland breaks away from the Marvel Cinematic Universe in a career defining performance. Cherry melds arthouse invention with mainstream genre to give audiences something truly special.

iBoy is a fully charged superhero tale that soon overcomes its admittedly ludicrous premise.

It’s lean, mean, and boasts one hell of a lead performance, so fans of both sci-fi and the thriller in general will find a lot to love about Oxygen.

Lady Macbeth begins as a biting tale of female empowerment but slowly reveals itself to be something much crueler. Period pieces rarely feel this contemporary.

Blurring the line between a narrative movie and a documentary, Actor Martinez is a film experiment that’s difficult to unpack but hilarious to watch unfold.

Expanded from a short that Dack wrote and directed previously, this mini-budget indie effort slowly draws audiences in through vicarious observation.

Nicolas Cage brilliantly embraces, mocks, and subverts his own legacy in an ingeniously demented action comedy that celebrates one of Hollywood's most uniquely fascinating stars.

Thrilling sci-fi exploration that ponders the melancholic state of self-worth, existence, and what it truly means to be alive.

Visually, Moana shines like a diamond at night.

Darkly comic, delicately tragic, and shot through with genuine pathos - 'Raymond and Ray' is a real treat.

M3GAN is a creepy, delightful new addition to the evil doll horror subgenre, complete with some killer dance moves.

Before I Wake is a beautiful, meditative ghost story with one of the more rewarding horror payoffs I’ve seen in years.

As a work of cinematic art, it defies codification. It begs for multiple viewings, if only to pick apart the concepts that it introduces, changes, and interacts with over the course of its run time.

This plucky sequel is carried on the slender shoulders of Millie Bobby Brown, who proves once and for all that she has the talent to bring in some box office. She might be a Netflix sensation, but always looks supremely comfortable on camera carving out another entry in this engaging franchise wannabe.

The documentary, although formulaic, and punctuated by tacky sequences of Gomez narrating passages from her journal over performative images that feign depth, is, in its majority, an uninhibited look into the challenges of dealing with mental illness, which is obviously exacerbated by a life in the public eye.

A Bong Joon-ho film for the fans of 'Okja' and 'Snowpiercer'. Our generation's liveliest, most earnest director is back.

Olivia Wilde’s directorial debut bursts outward with neon electricity, encompassing, even if overcooking, the teenage tropes levied by similar films of the past, while also staying deeply rooted in the here and now.

If you stick with it, The Cellar performs a kind of alchemy on screen: turning from a staid haunted house movie into a haunted house movie with a real sense of ambition and fun. I just wish it had more interest in its female leads.

Directorial debuts are rarely this poised, devastating or dangerous.

Anna And The Apocalypse is an enthusiastic coming-of-age musical that cares just as much about bellowed heart and soul as it does keeping horror fans entertained.

The Hunt puts the "F-U" in midnight "fun" as no sides are safe in this middle-finger cultural roast that's as loudly defiant as it is proudly blood-soaked.

The Platform is a multi-tiered assembly of tension, terror and terrible imaginings that, in cake form, would be worth centerpiece window placement in any professional pâtisserie.

Jackpot! delivers a delicious deranged mix of dark comedy and thrill ride. While its silliness may not appeal to all, the film's clever premise, strong performances by Awkwafina and John Cena, and well-timed humor make for a great experience.

The film plays with form the way Enola plays with words: dazzlingly, whimsically and sarcastically. It's a breezy escape from a world that seems to be getting darker by the day.

Jujutsu Kaisen 0 is interesting, funny, and flashy by itself, manga and television aside. And there’s something in it for shonen fans of all sorts, replete with the tired trope of teenage boys giggling over their friends’ big boobs while standing right next to her.

All Quiet On The Western Front is nonetheless a near-flawless war movie that ticks all the boxes of what the genre demands, while maintaining the source material’s subversive anti-war approach. It’s visually stunning despite holding no punches in its portrayal of war’s violent, dirty, and gory nature. Above all, Berger delivers a chilling cinematic experience that should become mandatory viewing for everyone in today’s social climate.

If anything, Sometimes I Think About Dying is an ultimately optimistic film, which feels life affirming and poignant in parts. That it also affords Ridley one of the best roles she has had in recent memory, only makes this more of an intriguing proposition.

The obvious political agenda behind Before the Flood may turn off those who still maintain that climate change is a myth, but the evidence presented in the film should at least cause open-minded viewers to rethink their position on the issue.

The exorbitant running time may end up testing the patience of many, but 'John Wick: Chapter 4' does exactly what the franchise does best, but somehow on an even grander and more gripping scale.

Jurassic World: Fallen Kingdom is boggled insanity of the highest and most enthralling sci-fi order. As exciting and wondrous a summer blockbuster audiences could ask for. You must suspend reality (EVEN FURTHER) and enter a world where dinosaurs have existed for years in order to attain circumstantial nirvana, but if done correctly, an absolute wealth of ceremonious riches await

Terrifier 3 marks a significant evolution in the franchise. Director Damien Leone delivers the most vicious iteration of Art the Clown yet, while also maturing as a filmmaker and providing a solid foundation for future installments.

Funny, touching and insightful. Woody Harrelson is in top comedic form in this tonally unique comedy with a lot on its mind.