Split is never as clever or poignant as it thinks it is, but James McAvoy won't let it be forgotten, either.

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.

Hercule Poirot comes out to play again in this horror-leaning murder mystery which, despite looking great, is held back by and underwhelming plot.

It’s a film of maddening contradictions, missed opportunities and half-taken risks, but it’s destined to be one of the year’s most polarizing and talked-about releases regardless.

You can’t help but admire the ambition on display, even if it ultimately falls just a little short.

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.

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

How does a movie about the galaxy's most dashingly roguish outlaw end up being the safest Star Wars to date?

The ambition often outweighs the execution, but Totally Killer is still a fun and bloody riff on several different genres at once.

This searing social satire on identity in contemporary culture features a career-best turn from Karen Gillian on powerhouse form.

Junction 48 is about a fusing of cultures, not a conflict between them. There are no easy solutions or simplistic answers, and the film doesn’t try to propose any.

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.

While the film never really finds its voice outside of the source material, lacking development and a finer tuning to its new medium, 'Red, White & Royal Blue' might still be the most deliciously fun and excitingly sexy romcom of the year.

Kong: Skull Island is a grand cinematic adventure powered by furry fury, as the horrors of war blend with chest-beating creature confidence.

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.

This is a boxing drama that scrappily battles for its recognition, determined to win you over at any cost.

Everything from the acting to the camerawork and the imposing score makes Fall a memorable mark in transcending fiction, making our greatest fears come to life.

The Void is a portal back to the 80s, hinged on immersive practical effects work that picks up the slack of a slighter story.

Writer and director Quinn Shephard's Not Okay takes thing near to the knuckle, but the biting jet-black comedy never loses sight of its intentions, deftly balancing humor and bile with heart and hard-hitting themes.

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.

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.

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.

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

Flashes of narrative inspiration and solid performances are not enough to rescue Allswell from mediocrity, as momentum remains in short supply.

Annabelle: Creation is no lifeless dummy. Plotting may run a bit thin and coincidental, but David F. Sandberg whips up bone-chilling scares and hefty doses of peek-through-your-fingers imagery.

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.

The magic here is in underground experiences and questionable decision making, all twisted like junky copper wiring that’s unraveled into something more useful.

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.

The Monkey quite competently makes a monkey out of the human ego, though the comedy choreography is a few bananas short of a bunch.

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.

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

Copshop isn't quite the movie the trailers paint it to be; It's definitely a worthy first meeting between Gerard Butler and Frank Grillo in the action genre, but Alexis Louder is the one who really steals the show.

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

Two Lovers and a Bear finds a blend of magic realism, romance and isolation that produces a tremendously moving result.

Anchored by a top-notch performance from its lead, The Hero surpasses its cliches and becomes an ideal vehicle for its star. In Sam Elliot we trust.

Clinically rigorous and hugely entertaining, The Man from Mo’Wax is a forthright examination of failure and disappointment. There’s not many music documentaries that can touch it.

Babylon might be messy, but original film making doesn't come much better than this.

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

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.

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.

Pompo the Cinephile makes for a comedic romp through America's film industry in this wonderfully animated feature from studio CLAP and Takayuki Hirao.

The Rehearsal is much like any coming-of-age melodrama, and while its meat is a little overdone, its intro and finale bookends do make up for a lack of flavor in between.

The best film DC has put out in a while, Blue Beetle offers fun, heartfelt action and comedy. Xolo Mariduena shines as Jaime Reyes, while director Angel Manuel Soto succeeds in delivering an ode to Latin American culture in a superhero outfit.

Taron Egerton and Toby Jones make Tetris one of the most intriguing video game movies for some time. Slick, savvy, and with no shortage of dry wit - audiences should lap this up.

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

The latest installment proves 'Scream' still has the chops to outdo itself consistently and cleverly. An effortless balance of dark comedy and intense set pieces make it worth checking out. Come for the return of a beloved franchise, and stay for a killer joy ride through New York City.

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.

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.

Birds of Prey proves that it's no longer a man's world, it's Harley Quinn's - and we should be so lucky.

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.

Saturday Night plays with the sharp erraticism of an improv comedian's neurons, but it quite simply doesn't believe in itself the way Lorne did about the film's subject.

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

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.

Its unique narrative approach stumbles as often as it shines, but an endearing mission statement makes 'That Christmas' a worthwhile family watch.

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’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.

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.

George Clooney and Brad Pitt fail to bring the big guns out on 'Wolfs,' but are just the right amount of endearing for streaming success.

A well-acted, slow burning indie, The Fixer uses thriller mechanisms to examine insular, tribal cultures through the eyes of an outsider.

Allied is a prestige drama without the prestige, wooden in appearance and lacking any true drama.

Back from the dead, the new chapter of the Scream series brings us back to the story we initially fell in love with, while creating a dynamic where Ghostface can strike again to continue his bloody carnage.

Good Boys successfully exploits a newfound ground between crudeness and innocence, but nearly runs it dry.

Edward Norton mines political relevance in some areas of noir-drenched New York and completely ignores it in others. As a result, Motherless Brooklyn becomes Chinatown’s outshined, ugly stepbrother.

The Whale is a frustrating watch as Aronofsky doesn’t seem to trust the actors or the audience, squashing the potential to tell an intriguing story.

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.

Get The Gringo is a passable addition to the action genre but it might have been better had the need to keep Gibson’s fan base happy not been so pressing.

The fuzzy residents of the 100-Acre Wood cutely convert to the real world in Christopher Robin, a mildly entertaining film that'll remind kids and grown-ups alike of the fun that can be had in doing absolutely nothing important.

Dark Night is rigorously framed and edited, but it offers the illusion of complexity rather than the real McCoy.

Yes, the movie where a girl falls in love with a Tilt-A-Whirl says more about self-assurance, romantic wilds, and personal comforts than most human-on-human counterparts.

Warren Beatty's Howard Hughes retrospective, Rules Don't Apply, is equally tone-deaf in humor and drama, cobbled together in ways that never seem to fit.

While not a home run, this comedy/drama might still be worth a look for fans of any of its charismatic stars (especially Slate and Kazan) and for those looking for a comedy that at least attempts to infuse darker elements in with its awkward laughs.

Gifted may be bogged down by some generic dramatic beats, but young Mckenna Grace is the beam of sunshine that keeps us from losing faith.

What Backcountry did for campfire creature attacks Killing Ground does for murderous bushmen in the same setting.

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.

Bravo’s abundance of inexplicable details makes for an interesting conundrum at first, but mystery soon fades.

Little Monsters is a must-see horror comedy that proves Lupita Nyong'o should be starring in far more horror movies than she's been offered at this point.

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

Doctor Sleep is a conflicted and unwieldy sequel attempting to unite worlds (King and Kubrick) while telling an original story from yet another filmmaker's viewpoint (Flanagan) that never blends together.

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.

Sing runs on some serious super-piggy performance power, even if the emotional notes are expected.

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

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

Cars 3 isn’t remarkable or groundbreaking or even all that memorable, but it’s a rock-solid movie that leaves a far better taste in the mouth than its critically panned predecessors.

The Forgiven should have been an epic morality tale with acres of grey area, but somehow misses its mark, forever scuppered by a cliched ending and a conclusive lack of closure for audiences.

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.

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.

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.

Here Alone is a sometimes-striking, sometimes-repetitive glimpse into apocalyptic drama that struggles to offer anything new.

Cruella isn’t perfect by any means, but it’s an altogether different kind of Disney blockbuster that pivots from origin story to heist thriller via family drama and a pastiche of the cutthroat fashion industry with consummate ease, all anchored by a tour de force performance from the leading lady.

When the movie doesn’t meander and its filmmakers understand how to use their time, V/H/S 99 buzzes with creative energy. At its best, it has all the pleasure of popping in a tape late at night and letting the television light wash over your room.

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

Burial leans too heavily on genre convention without adding anything fresh. For that reason, any decent performances which are happening on screen fail to rescue it from mediocrity.

Jumanji: Welcome To The Jungle is both a fulfilling reinvention and adventurous video game quest that’s far funnier, and unexpectedly exciting, than you could hope for from an evolved reboot with explosive fantasy character.

Wildling may swerve last-minute into a less dense finale, but Bel Powley's performance is worth this fierce and untamed coming-of-self arc that's so exquisitely female-centered.

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.

Before I Fall makes a simple plot into this convoluted, aggravating mess of emotional turmoil that lacks a shocking amount of direction.

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.

Boston Strangler has more to say than some might think by promoting a forthright, focused, and professionally progressive approach in those central performances. Roles which are only made to look easy by Knightley and Coon, purely because they embody them so effortlessly.