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.