Cult Of Chucky roots itself in nostalgia long enough to shock us all by flipping the Child's Play franchise on its head in an invigorated, inspiring, and oh-so-deadly way.

Bohemian Rhapsody may not totally rock you, but Rami Malek channels the thrilling, show-stopping charisma of the late Queen super singer, ensuring this inappropriately timid biopic is as entertaining as it can possibly be.

Look into the eyes of My Father Die, and you’ll see honesty. Never once does writer/director Sean Brosnan go out of his way to present “revenge” as a worthwhile venture, as he evokes the beastly nature of such drastic measures.

Grab on for dear life and expect a freakish, wild, and seriously f#cked up ride from start to finish - which, of course, is every horror fan's dream.

Spider-Man: Far From Home is the upbeat teenage "road trip" comedy antidote to post-Endgame doom and gloom that Marvel fans deserve.

Queen Of Katwe is pretty typical Disney magic, but dynamic performances add a little more oomph to Phiona Mutesi's amazing true story.

The Platform 2 does more than follow the first movie recipe, spicing things up with new ethical conundrums and serving a new batch of intriguing puzzle pieces.

Haaga knows what works, and ensures that we get heavy doses of the good stuff (although more Alisha Boe would have been nice).

They Cloned Tyrone is comfortably Netflix's most original blockbuster of the year, and being exactly the movie you think it is and something completely unexpected at the exact same time is easily its biggest strength.

The Book of Henry is a hair away from being in league with the most ludicrous Lifetime original movies, but its cast, slick production and Trevorrow’s willingness to take risks make it an oddball chunk of entertainment you’ll be sure to tell your friends about, whether you liked, loved or loathed it.

Lowlife is a dirt-nasty nonlinear debut for Ryan Prows, sewn together from vengeful, spite-driven tales of urban survival.

Though it doesn't break any new ground, The Siege of Jadotville is a well-crafted piece of filmmaking that investigates the often-contentious relationship between politics and war.

Annabelle Comes Home is crowd-pleasing horror entertainment that’s both fun and eerily frightening.

Impeccably casted and narratively confident, one really only wishes that 'The Thicket' spread its wings just a bit more. Dinklage has great taste in passion projects, and is great in them, too.

Ultimately, The Colony squanders a great concept and never takes it to fruition.

Worth is a fairly routine biographical political procedural, elevated massively by fantastic performances from Michael Keaton and Stanley Tucci.

Filled with awe-inspiring imagery, and a heartbreaking real-life tragedy, 'The Deepest Breath' is powerful stuff.

It’s always a shame when a promising film doesn’t quite stick the landing, but Indivisible is still undeniably a striking bit of work.

Greta Gerwig's summer blockbuster is well worth watching, but fails to reach the storytelling heights of her previous work.

It may be messy, but the parts that matter go for broke with breakneck ambition.

The Night House might not stick the landing, but it's an eerie supernatural chiller with an incredible lead performance from Rebecca Hall.

It's a fun time at the movies for genuine fans of Marvel superheroes who have been keeping up with the franchise for the last couple of decades. It won't really land for anyone else, and that's okay.

This complex political thriller from writer/director Eromose falls just short of greatness.

It isn’t anything you haven’t seen a handful of times before, then, but that’s exactly why Hustle works so well. It’s a 117-minute blanket of comfort that delivers precisely what you want to see from an underdog sports story, and never tries too hard to be anything else.

Better Watch Out is a good movie you should watch knowing nothing about, like a spoiler-free Christmas morning.

Take Me is a sunny little daydream about fetishistic domination, spun around one man’s jabby little gender battle. There is a sweetness to it all, as well as an undeniable creep factor.

This is no rehashed reboot looking for a nostalgic cash-in, but a film with something to discuss. It might not hit all the targets head-on when it comes to satire or social commentary but still remains subtly incisive and hugely entertaining.

With some solid turns from Rebel Wilson and Charlotte Gainsbourg, The Almond and the Seahorse explores the idea of living with long term brain trauma.

The Ritual may start on familiar footing, but trust in David Bruckner's ability to summon some nasty tension and a third act that horror fans will be talking about all year.

In a wonderful turn of events, M. Night Shyamalan has finally made a movie worthy of M. Night Shyamalan's prestige.

The Loner is a hyper-surreal tale of neo-noir revenge, boasting Middle-Eastern influences that unlock new aspects of an age-old genre.

While the stakes don’t feel high, Hamm’s charismatic turn and the consistent stream of high-quality scene partners makes the end product an engaging chuckle-fest of a movie.

To make a movie about such an elusive figure is a challenging undertaking, and it’s a testament to the quality of Magnus that the film succeeds as well as it does.

Clifton Collins Jr. gives an incredible performance in Jockey, which manages to both lean into the tropes of the sports drama while still painting them in an entirely new light.

Dolan can officially be deemed as one of horror’s most intriguing and singular new talents, thanks to a debut that’s definitely worth seeking out for horror aficionados who prefer having something to think about and chew on once the lights come up, as opposed to the hollow adrenaline rush of splashy set pieces that don’t have anything to say, and find themselves forgotten in an instant.

Toy Story 4 is as mediocre a Toy Story movie as there is and probably can be, but it also marks another unbelievable triumph at Pixar in their never-ending quest to realize the imagination.

It may be over-the-top blockbuster fare first and foremost, but Adam Wingard's love letter to monster movies is far more intelligently crafted than anyone could have predicted.

Mission: Impossible - Fallout is cocked, locked and ready to blow you away with more than just Henry Cavill's forearms.

An exciting, intentional ride that never resorts to cheap thrills, instead keeping its story grounded in this day and age's most pertinent topics: lonely men and AI.

Packed with wit, humor, action and plenty of heart, Free Guy might just be the best video game movie to ever come out of Hollywood.

Anna Kendrick's directorial debut offers a refreshing twist on a tried and true formula by contextualizing a serial killer's wrath within the crueler misogynistic traditions that enable it.

Multiverse of Madness is at its best when allowed to be a Sam Raimi movie, but often sags when ticking off the boxes required of an MCU chapter that follows on from Scott Derrickson’s Doctor Strange, WandaVision, Loki, and Spider-Man: No Way Home all at once.

If you believe horror shines blackest when hardest to decipher, 2017’s horror crop may never best this effort. For me, it’s a Mortal Kombat finisher that punches through your ribcage with heart-in-hand – but the fight itself is a bit too talkative.

It Chapter 2 downgrades Pennywise's presence amidst the adult Losers' coming together, but is still a funhouse-freaky sequel that makes quite the statement in terms of scaling blockbuster horror bigger and grander.

While it may not break new ground, Smile 2 delivers a thrilling sequel that surpasses its predecessor, thanks to Naomi Scott's tour de force performance and Parker Finn's improved direction.

Beetlejuice Beetlejuice is an exercise — or exorcise — in studio IP extension that is so strange and unusual as to be almost review-proof. It's messy and overstuffed, but its quirky charms may well win you over.

In the end, The Monster does more by way of thrilling tension and heartfelt admissions than it does through any scares, but that doesn’t make it a bad horror film. Bryan Bertino reveals a gushy soft side, only to tear out his heart and hoist it for all to see.

The Card Counter marks another unique cinematic contribution from a masterful filmmaker.

Avengers: Infinity War cares a bit too much about being "Part 1" and holding enough development for "Part 2," but MCU fans should see their 10-year buildup expectations met - not exceeded, but met.

Little Sister is a spunky family drama that does "indie" right.

The heart Dev Patel put into Monkey Man is clear at every turn, but the actor-turned-director might have bitten off more than he could chew in his behind-the-camera debut.

While 'Presence' may not deliver traditional horror scares, Soderbergh's innovative ghost's-eye-view approach and strong performances create an intriguing supernatural drama that prioritizes technical brilliance over frights.

Monster Trucks is a weird, wacky ride that's made better by its sense of good-natured, juvenile fun (for the most part).

There is plenty to love about Bodies Bodies Bodies, even if it could’ve sharpened its satirical knives a bit more. Overall, it’s a fun, darkly humorous watch that’s worth checking out if you’re looking for something fresh to satisfy your appetite for horror and humor in equal measure.

Aquaman is imaginatively ambitious superhero cinema with no rules, which is more positive than negative as Wan's vision is realized like an underwater laser light spectacle that the DCEU so desperately needs right now.

Rogue One makes up for a shaky first act by punching into overdrive for an outstanding third act battle sequence that overwhelms in scale and intensity.

The Ardennes may be saturated in dark blues and snow-covered blankness, but it burns with bright fury as Robin Pront inches closer to his film’s inevitable breaking point.

Much like its protagonist, 'Hit Man' is an amalgam of personalities, not entirely one thing or the other, but a combination of genres that, through careful writing, each manages to maintain their essence throughout.

It isn’t always entirely successful, but when The Adam Project is firing on all cylinders and zeroing in on the family drama that’s never too far away from the surface, you may just find yourself fighting back tears.

John Wick: Chapter 2 tempts fate with a 122-minute running time, but the "Gun Fu" is back and it's just as deathly awesome as it was in the first film.

Emergency fails to live up to its early promise, by squandering strong performances in a search for something more satirical.

Scary Stories To Tell In The Dark is gateway horror that treats intended audiences to many a scream, pulling no punches nor watering down nightmarish conjurings that remind how healthy fearful emotions can be at any age.

Its borderline-necessary messaging doesn't render it completely invulnerable, but should Pixar be up to it, they've earned an 'Inside Out 3'.

When it counts, The LEGO Batman Movie delivers everything you’d want from such a farcical superhero creation.

Director William Oldroyd offers up a 50s potboiler in 'Eileen,' which is held together by an elegant Anne Hathaway and downtrodden Shea Whigham. Steeped in period perfection but hampered by an off-kilter final third, this might not be for everyone.

Despite a tacked-on framing device that mostly falls flat, Kevin Hart: What Now? proves to be a laugh riot thanks to the comedian's high-energy delivery and the broad spectrum of relatable topics he integrates into his set.

The Marvels feels like it should have been developed as a Disney+ project, but Larson, Parris, and Villani's full commitment promise a nonstop, frenetic team-up movie—and who could forget Goose!

Its shamelessly sophomoric sense of humor only sporadically leans into inspired territory, but while it may not arrive as an instant classic, the ambitiously titled Captain Underpants: The First Epic Movie easily stands among the best animated films of the year so far.

House of Darkness leaves audiences with much to consider as the credits roll and blood red titles draw a discreet veil over this contemporary Gothic offering.

The script is equal parts juicy and loose, but in the hands of Scott Derrickson, 'The Gorge' is ultimately worth gorging oneself on.

While it takes a few too many cues from similar coming-of-age tales, Honey Boy offers audiences an egoless dissection of Shia LaBeouf’s side of his own story.

Deadpool 2 is an overstuffed cinematic burrito of raunchy insults, dismembering violence and a "no f#*ks given" attitude that's ready to burst at any second, but somehow holds together bite after enjoyable bite.

It’s exhilarating while it lasts, creating an unwavering feeling of giddy excitement and palpable enthusiasm in doing so, but by the time the credits roll on a pair of post-credits scenes that hint towards where Thor is heading next, you might be left wishing you’d consumed something more substantial, instead of gorging on instant gratification simply because it’s right there in front of you.

Though The Highwaymen makes sure it tells the right story about Bonnie and Clyde, it doesn’t win the argument that it tells the better one.

Blue My Mind is a provocative Swiss origin story about sex, drugs and trials no person can possibly be prepared for. Whether Mia’s transformation is true or a ruse, the proposition of underwater DNA is only bested by Lisa Brühlmann’s execution.

Relic is the latest possession movie to peel back its characters slowly, layer by fragile layer, getting at the secrets that lie just below the surface.

Peter Pan & Wendy is a decent live-action remake stays faithful to the source material as well as its animated predecessor, but that's about it.

There is clearly a lot of ambition to The Loved Ones and the near-brilliant leading performances help make the film a unique and terrifying experience.

You might think you've seen it all before, but 'The Twin' thrives in upending expectations to deliver an atmospheric folk horror that's as emotional as it is terrifying.

Jack Quaid proves yet again that there's always room for a new kind of hero.

The latest and (allegedly) last chapter in the Michael Meyers saga, manages to find an ending while having some shaggy and unhinged fun along the way. It might not entirely work, but 'Halloween Ends' takes you on one last wild ride and goes into some pretty unexpected places.

Unfortunately, Lady Chatterley’s Lover circa 2022 fails to deliver the degree of bodice-ripping drama for which D.H. Lawrence adaptations are well known.

As a whole, Army of the Dead is big, loud, incredibly stupid and probably 20 minutes too long, but it’s a deliriously bonkers delight once it finally finds its footing.

Finn Wolfhard and Julianne Moore shine in this directorial debut from Jesse Eisenberg.

Beyond The Games plays to the nostalgia crowd instead of adopting 21st century scares, but still finds a way to explore untapped VHS potential.

Atomic Blonde strikes a deafening blow thanks to enjoyable characters, furious fight-play and Charlize Theron’s brand of screen command. She’s always in control, whether toying with feminine wilds or slugging another glass of Stoli on the rocks.

Stronger complicates the notion of the public hero in its heartfelt telling of Boston marathon bombing survivor Jeff Bauman's story, with terrific performances from Jake Gyllenhaal and Tatiana Maslany.

Ant-Man And The Wasp is the kind of playtime entertainment suited for Scott Lang's better-when-on-a-team personality, loaded with size-shifty sight gags and lower stakes worth Paul Rudd's ensemble stardom.

Plenty of blood splatter brutality throughout Orphan: First Kill will satisfy gore hounds looking for their next fix. Bell, who previously directed the similarly themed The Boy and grizzly werewolf film Wer, proves to be a deft hand at creating tension without resorting to cheap jump scares.

There's a lot to like about Olivia Wilde's sundrenched sophomore directorial effort, particularly Florence Pugh's performance, but the story feels uneven.

Baby Driver proves why we should never doubt Edgar Wright's vision, because few filmmakers can back their ambition with such quality thrills.

Lou is a polished piece of action drama from Netflix and Bad Robot, which gets by on solid performances from Allison Janney and Jurnee Smollett. Combining with a unique score from Nima Fakhrara, this by-the-numbers Netflix release is worth a watch for Janney alone.

Despite sliding into melodrama a bit too often, From Here to Eternity remains a decent film due to the strong performances of its Oscar-nominated cast.

A concrete horror flick that burns with consequence, ignited by strong characters who are far more tested in their experiences than anyone of similar age. Bloody, emotional and visualized with a damning spirit – what an outspoken genre manipulation for first-timer Michael O’Shea.

The end product is a hugely satisfying and wholly original Christmas pic that will no doubt become required viewing on an annual basis for those who prefer their holiday favorites to be a little less traditional.

You'll want to call Slash a "romantic comedy," but that wouldn't do justice to all the social norm blurring that's more about important relationships than a goofy love story.

Patti Cake$ is a feel-good freestyle phenom that heals through artistic passion and shrugs of wackness, indulgent in highs but not shying away from crushing lows.

Next Exit aims high, and while it hovers perilously close to overindulgence at times, Elfman’s hugely accomplished first-time feature largely succeeds at every box it attempts to tick off.