A Vigilante succeeds not by exploiting torture, but instead shifting focus to Olivia Wilde's painful, so very real performance.

As punishing as it is grotesquely poetic, Headshot is a healthy dose of breathtaking brutality that makes you hold on for dear life.

A brazen, subversive send-up of 007, Kingsman: The Secret Service also has the high-octane excitement to work as a spy film on its own merits.

Feminist by nature rather than design and consistently visually dazzling, The Eagle Huntress is top flight documentary cinema.

Something Else promises monsters but delivers more demons of the human experience variety, as this sweet and sincere creature feature is far more romantically heartfelt than expected.

Prey is a fresh, original, and exciting entry into a franchise that was in desperate need of new life.

Robert Eggers' reimagining of the 1922 classic "Nosferatu" delivers a visually striking but uneven Gothic horror experience, elevated by Lily-Rose Depp's captivating performance and stunning second half.

With skin-crawling scenes and a surprising discussion about the control of women's bodies, 'The First Omen' finds a new angle to explore the well-established franchise. The prequel doesn't always manage the tricky balance between reverence to the original and new ideas. Still, there's a lot to love, both for newcomers and returning fans.

Fences is old-school Americana that's driven by dynamite performances all around, albeit a bit stuffy in nature.

Ingrid Goes West is the kind of social media satire we need, even if a tone-shifting second act drives focus from mental health to less interesting criminal goofiness.

Keaton’s hazy wading through Kroc’s McDonald’s takeover is a dynamic performance that drives moral emptiness, but remains so poisonously watchable.

Slapface can often be a relentlessly bleak experience, but the thematic resonance and surprisingly effective character dynamics comfortably offset any minor flaws.

It is the fairytale you desperately desire and the real-life truth that you detest rolled into a fantasy-charged ride that crashes at the last moment, but doesn't burst your pipe dream of being in the driver seat.

Officer Downe is a vicious, violent bit of midnight madness that shoots first, and then shoots again for good measure. No need to ask questions.

Slow, low-key and often beautifully observed, Blue Is the Warmest Colour won't blow your mind, but it will charm your socks off.

Leigh Whannell does a damn fine job manifesting unnerved tension and sustaining Cecilia’s downfall right in front of everyone’s eyes.

The Outwaters is a movie that rewards patience and gives your mind the freedom to run away with its setup and follow it to the bitter end. There is certainly a lot happening here, and it doesn’t all make sense or have an explanation, but that’s the (terrifying) point.

Buoyed by a strong cast, Wolves is a predictable yet powerful film that uses its multitude of sports movie and coming-of-age cliches to the best possible effect.

Blink Twice is a stylish psychological thriller about sexism in the #MeToo era. While its plot may feel familiar, Zoë Kravitz's confident direction and Channing Tatum's surprising performance elevate the film above its occasionally on-the-nose script.

Nine Days is a fascinating, thought-provoking and incredibly moving feature directorial debut from Edson Oda.

Your Lucky Day finds Angus Cloud and the rest of the cast on sparkling form in a twisting, turning, and altogether unpredictably thrilling time.

Most Beautiful Island summons viewers into its seductive web, lashing out with teeth-grinding tension when you least expect it.

Brightburn doesn't ask if you want blood, but you've damn-well got it in this nastily gruesome superhero hack-n-slash that's a nightmare for parents everywhere.

Roth’s solid performance and Franco’s confident direction dovetail neatly into a film that knows what it wants to communicate and how to achieve it.

In hindsight, irrespective of the solid performances from Cuthbert as Andrea and the headliner, this film suffers from an overabundance of ideas. Leading in short order to a stylistically slick but confusingly over-packed genre mash up.

Piggy surprises and shocks all the way up to its ending. It’s fueled by teenage angst and revenge, keeping you in suspense and invested in this story of sweet, potential revenge. Ultimately, it’s at its best when it takes the time to understand Sara and stick with her no matter what. Come for the story of Sara’s revenge, and stay for the twists and turns along the way.

King Cobra has the intensity, excitement and poison every thriller needs, and wild, engaging performances to boot.

Despite its shortcomings, 'Meet Cute' takes viewers on a journey through the harsh reality of relationships that they won't soon forget.

Though it runs into a couple of bumps along the way, Between Us is a well observed and sensitive indie drama that'll be familiar to anyone struggling with the onset of maturity.

Happy Death Day 2U is a more ambitious, more entertaining - albeit less horror powered - time-warp sequel that proves Jessica Rothe's blinding talent no matter what dimension she's in.

Submerged is a whole mess of tension primed to leave viewers in an anxiety-induced pile of helplessness, which means it does its job pretty damn well.

While War for the Planet of the Apes's third act is a bit hairy, the sequel helps cement the franchise as one of the more exciting mainstream properties worth watching.

Cuckoo blends B-movie energy with arthouse ambition, delivering a fresh horror concept bolstered by Hunter Schafer's standout performance. While its scattered storytelling may divide audiences, the film's atmospheric tension makes it a worthy watch.

Thelma doesn't exactly tell a unique story, but Joachim Trier's vision is so strong you'll barely even notice.

Gareth Evans’ Apostle is The Wicker Man, Safe Haven and Silent Hill thrown into a boil that bubbles over during a ruthless third act that certainly delivers if you have the patience.

Dune: Part Two sets foot back on Arrakis with an ambitious fire in its eye, overcoming its unsteady but understandable hubris with cinematography and production value that comes utterly alive.

While The Ivory Game's ambitiously broad look at the illegal ivory trade takes on a bit more than it needs to, it does shed some definite light on a growing global problem.

If you’re not a big fan of whodunnits, potboilers, or period pieces, then See How They Run isn’t exactly going to convert you. However, if you get on the same wavelength as a deliberately oxymoronic slice of escapism that melds the modern with the classic, the self-aware with the archetypal, and the subtle with the overindulgent, then there’s a distinct possibility you’ll end up with a smile plastered across your face when the lights come up.

American Pastoral doesn't quite nail its tone, but it's a compelling enough adaptation with a few truly inspired moments.

Abigail offers enough blood and guts to deliver an entertaining horror flick, but fails to tie all of its plot threads together in a satisfying way. In addition, the marketing for the movie reveals too much, spoiling its most shocking surprises.

Its methods may be unconventional, but Joel Potrykus never loses grip of the slippery strangeness.

Gabriela Cowperthwaite orchestrates Nick Shafir's fantastic script and deftly on-the-ball players to uniquely jolting effect, even if the finish line was ultimately more glimpsed than crossed.

Arrival challenges viewers to a brainier sci-fi conundrum than they're used to, which makes for an intellectual breath of fresh air.

Ultimately, Something in the Dirt disappoints for a multitude of reasons, not least of which is the optimism that slowly dissipates as things progress. To call this an ambitious misfire is being polite, as the investment required going in never fully collates with the level of satisfaction audiences expect coming out.

Like Me is a bombastic feature debut for Robert Mockler, benefitting heavily from visual artistry and Addison Timlin's strong performance.

The Love Witch is a seductive 60s time-capsule that calls back to the technicolor charms of early genre filmmaking.

Let The Corpses Tan is a stunning display of visual seduction and slaughter-first gunplay, if not somewhat distracted by a skeletal script that’s been stripped of all meatiness.

By ordinary metrics, it leaves everything to be desired. But, 'The Beekeeper' understands that better than anyone, and occupies the 'Fast & Furious'-esque niche of action filmmaking in a way that's arguably genuinely brilliant.

Okja is a wild, tender tale of wonderment and friendship, delightful but still with smacks of vile consumerism darkness.

A Family Affair is far from revolutionary filmmaking but it is a near-perfect sample of its genre. It’s ballsy and funny without being over the top, and it’s got an unexpected fire burning behind each of its characters.

Although Ordinary World hits a number of familiar story beats, a real heart appears to be beating behind the material, allowing Armstrong and his castmates to maximize the emotional impact it has.

Rough Night is a seriously funny movie led by some seriously funny ladies, but even more impressive is a mainstream comedy that relies not on cheap shocks like many who have come before.

Although the film flies off the rails in its climax, the rest of Brigsby Bear is an outrageous concept that’s pulled off quite well.

Win It All is another Swanberg special that hits upon the most human aspects of a gambler's curse, so perfect for Jake Johnson's leading take.

Finch isn't the most original or exciting sci-fi movie you'll ever see, but it's a charming road trip adventure anchored by yet another incredible performance from Tom Hanks.

Luca Guadagnino’s Suspiria will divide fans of the original and those excited for something fresh as a testament to long-form (2+ hour) filmmaking that holds together impressively well.

Gold might be a flawed find, but it's worth seeing for Matthew McConaughey's performance alone.

A powerhouse screenwriting debut, inspired direction, and a Scarlett Johansson-shaped heartbeat ensures that all systems are go for 'Fly Me to the Moon.'

The Hollow Point is a blazing contemporary western that finds pleasure in punishment.

Blockers sells itself as a parents-first warpath comedy, but the true treat here is watching a trio of young women navigate sex-comedy narratives that boys have dominated for far too long.

Endgame is the superhero equivalent to an original cast revival in a long-running Broadway show, and often has the same hair-raising effect.

Secret Headquarters is aimed squarely at young adults, takes a leaf from the 'Spy Kids' franchise, and is never less than engaging when affectionately leaning into genre cliches without trying too hard.

The Belko Experiment rides a gushing wave of carnage through the elevators of an unsuspecting office building, gleefully making wolves out of sheep.

The Good Nurse may focus on someone believed to be one of the most prolific serial killers in history, but the smartest decision the dramatic thriller makes is shying away from the sensationalism of harrowing real-life events.

War On Everyone is a pitch-black, nihilistic riot, like a pissed-off teenager spinning atop a mountain with two outstretched middle fingers pointing in every direction.

Prisoners of the Ghostland isn't going to be for everyone, but if you're on board with one of the craziest movies you'll see this year, then strap in and prepare for Nicolas Cage at his most unhinged.

First Man hardly comes close to capturing the overwhelming triumph behind Neil Armstrong’s lunar explorations, though the journey to get there is technologically masterful.

Smile doesn't reinvent the wheel regarding horror, but it does offer up a smartly executed chiller bolstered by fine performances and plenty of jolting moments that is sure to please fans of the genre.

Rather than being the After Hours Scorsese homage it hinted at, Mona Lisa and the Blood Moon loses its way, and becomes little more than a pretty distraction.

A feel good movie should make you feel...well, good. And My Spy's arsenal of laughs, smiles and carefree action connects with a sniper's precision.

While Ridley Scott delivers spectacular gladiatorial action and Denzel Washington steals every scene, 'Gladiator 2's derivative plot and inability to escape its predecessor's shadow prevent it from achieving the same legendary status as the original.

Choose or Die has some important things to say about the decisions we make.

This is dirty, abusive, sticky, heartfelt (?), enlightened (??), intellectual (???), deranged, offensive, damningly provocative filmmaking at its…most…unhinged?

Godzilla vs. Kong is exactly the movie that everyone wants it to be, and that covers both the positives and negatives.

With tighter scripting, this’d be a masterpiece. As is? Christopher Nolan has produced a damn-fine picture that goes against most of what his catalog has become renowned for in a good, streamlined way.

No One Will Save You stands out among a crowded field for both the swings that it does take and the way it simultaneously acts as a love letter to its many forebears, all while putting its own definitive stamp on the proceedings.

While still a fascinating filmmaking exercise, this is, unfortunately, one of those movies you can recommend to everyone. Still, The Outrun is a vehicle for Ronan’s talent, with her driving fast towards awards season.

It might not reinvent the wheel in terms of either the action thriller or modern day war genres, but Carnahan has delivered a hugely accomplished debut that’s often harrowing to watch but never anything less than eminently watchable, packed with both nailbiting tension and impeccably-crafted set pieces that mark him out as a director well worth keeping an eye on.

With Patriots Day, Peter Berg translates national tragedy to cinema screens with power and purpose for the second time this year – yet the question for many is with wounds still healing, do we really need to be subjected to recreations of a hateful act still fresh in our nation’s history?

It’s an enjoyable movie-night combination of lightning quips, genuine friendship and observational humor paced with Sonic’s “gotta go fast” attitude. Score one for video game fans!

An entertaining and thought-provoking film, The Last Laugh presents multiple perspectives on taboo humor without passing judgment.

It's not going to be for everyone, but if you've got the stomach for it, then When Evil Lurks is easily among the year's most gruesome, unrelenting, and unforgettable horrors.

Hellraiser is a fresh entry to the decades-old franchise and it's also a fresh breath of air to the many fans that have long suffered from below-par sequels.

In Skincare, Elizabeth Banks leads a tense, socially conscious thriller that cleverly blends suspense and social commentary to create an engaging, if uneven, experience.

This is a very funny, perfectly scored...exciting, albeit overlong exercise in pushing MCU boundaries to their franchise breaking point.

In "Juror #2," Clint Eastwood delivers his best directorial effort in years, crafting a morally complex courtroom drama that's elevated by Nicholas Hoult's compelling performance and a thought-provoking premise.

Benedict Andrews Una is a meticulous beast, led by fearless performances from Ben Mendelsohn and Rooney Mara. Its unprecedented approach to the controversial subject matter at its core works splendidly, effectively churning viewers in their seats for the entire duration of the film.

Florence Pugh gives another magnetic performance in this hard hitting redemption drama, written and directed by Zach Braff. Aided and abetted by Morgan Freeman, an otherwise average melodrama is elevated by two movie stars on top form.

Billed as a lockdown love story, Alone Together is more than the sum of those parts. Offering writer director Katie Holmes a perfect platform to deliver, something intimately personal with political undertones. Substance and subtlety with this subject matter is rare, so give this some attention.

There is no denying that this adaptation tries to tackle the central themes, but for some reason, it never really comes together in a way that genuinely satisfies.

For now, audiences will have to make do with this considered slice of comedy-drama, which throws up some familiar questions without actually digging deep enough to offer up anything conclusive.

Curse Of Chucky is a vicious return to form for one of horror's most legendary icons, terrorizing victims in the purest, darkest form of criminal insanity.

Jackie is Natalie Portman's show, and she never wastes an opportunity to dazzle as JFK's glamorous grieving widow.

As a whole, PLANE is a fun, dumb throwback to a simpler time at the movies, and sometimes, that’s all you need.

Bridget Jones’s Baby effortlessly reminds audiences why this character and her world were so compelling in the original film.

The Autopsy of Jane Doe is an age-old story of family horror that benefits from an approach focused on dark whimsy instead of typical genre jumps.

Although Project X has its faults (we’ll get there in a second), the atmosphere of the party couldn’t be more perfect.

Any misgivings bestowed upon Ford V Ferrari by the script are, more or less, eliminated by the film’s big draw: the racing. Gloriously calibrated, simply designed, and modestly edited, audiences are reminded of the dynamite, nearly natural relationship automobiles share with filmmaking.