No Man of God doesn't tell us anything about Ted Bundy we didn't already know, but it's a riveting drama anchored by two phenomenal performances from Luke Kirby and Elijah Wood.

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.

In essence, Bloody Birthday is the old horror film, The Bad Seed, multiplied by three on the crazy scale, but far less chilling.

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

In terms of performance, Freeman generates about all the emotion this nearly one-man show puts out. At first, Andy’s mission is protection and self-reservation, but Freeman captures the process of shifting priorities marvelously, making Andy’s transition from worried improviser to adapted martyr all the more pleasing to experience.

Four powerhouse performances cannot quite make Richard Linklater's occasionally moving dramedy, Last Flag Flying, into more than a minor war movie.

It’s broody and disciplined, soaked in the pungent style of foreign auteurs who molded Scorsese’s own love of film – yet overburdened by a downward spiral lacking fire and unforgiving features.

The Princess fully embraces its outlandishness to deliver a cheesy, violent, R-rated fantasy actioner that's destined to ensure as a camp cult favorite.

20th Century Women relegates a set of extraordinary female characters to supporting players in a standard coming-of-age narrative. It's entertaining, but also disappointing.

Violent Night delivers everything that was promised, and it's destined to find long-lasting life as a cult classic, but there's barely anything of note beyond the superficial.

Ultimately, Stars At Noon provides an interesting look into an important time in history for Nicaragua from the perspective of a French director who has no direct involvement with the reality she is representing. Unfortunately, the conventionally attractive hetero-normative romance between the leads, and the espionage shenanigans they get up to, are wildly uninteresting compared to the gravitas of everything that is going on in the background.

Malignant is messy, chaotic, ridiculous and quite possibly the most insane movie you'll see this year, but James Wan doesn't just know that; he uses it to his advantage.

Psychonauts, the Forgotten Children is bizarre, imaginative and beautiful, but it's also crying out for a stronger narrative.

Michôd’s military dramedy is more about press tours, TV interviews and power plays. That’s what makes this Netflix new release redeeming in its political poignancy – but having Brad Pitt doesn’t hurt.

With a little less preamble and a lot more momentum, The Cow might have been something special.

Doctor Strange is the psychedelic kung-fu spectacle that Marvel hoped director Scott Derrickson would deliver, but it’s got a strange problem – the doctor himself.

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.

Combining Amblin-style adventure with grind house exploitation theatrics, 'Kids vs. Aliens' is the ultimate 80s man-child movie.

In its braggadocios final form, genre fans have a unicorn watch that surely won’t be replicated anytime soon. Points for creativity, points for ambition, and points for a studio showing the balls to back provocative genre cinema.

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

Unfortunately, Smith’s would-be comeback vehicle is hamstrung by a weak script, paper-thin characters, and gets caught too often being overly earnest rather than emotionally honest, something that ultimately taints the integrity of the endeavor and will leave audiences disappointed.

Cabin Fever: Patient Zero certainly lives up to Eli Roth's gory standards, but individual enjoyment will hinge on one's love of schlocky B-Movie antics.

Lean and mean, The Survivalist a realistically miserable apocalypse - and all the more terrifying for it.

Rainbow Time is all over the place dramatically, but somehow Linas Phillips ties together a sometimes wacky, otherwise off-beat family dramedy from perspectives unknown.

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 Bullet Train sings it’s often a blackly hilarious and knowingly absurd slice of demented action goodness. When it doesn’t work, self-indulgence begins to creep in, almost as if the creative team deliberately set out to make something that would be fondly remembered as a cult favorite in the years to come, but that’s a sentiment that can only be earned, not cultivated.

Dear Joe Lynch, please let me see your Director’s Cut ASAP? Knights Of Badassdom is an unfinished product, but it passes based on the content our director was able to salvage.

Indiana Jones and the Dial of Destiny is a solid action-packed blockbuster that ticks all of the franchise's required boxes, even if it isn't quite a farewell worthy of a cinematic icon.