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.

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.

This vibrant indie rom-com from director Raine Allen Miller dives into the cultural melting pot of a globally recognized city, yet showcases it through the eyes of Yas (Vivian Oparah) and Dom (David Jonsson). Slick, funny, and charming - 'Rye Lane' is one to watch.

The Unknown Country proves to be a road trip unlike any other.

John Krasinski orchestrates a loud and ferocious symphony of sonic scares that will assert A Quiet Place as one of the year's most terrorizing films.

For 130 minutes, the writer-director disorients and delights, confidently trailblazing through his murder mystery two, maybe even three steps ahead of the audience. This isn’t a simple, direct testament to the slick, sidesplitting script, nor the fully committed, second-to-none ensemble, but rather a passed inspection of these cogs and their ability to form a purely entertaining experience.

It's truly never been more fun to watch three people be absolutely despicable to one another than in Luca Guadagnino's tennis court love story.

Wes Anderson continues to exercise his (hopefully) endless imagination in Isle of Dogs, creating another fictional setting bursting with unlikely heroes and another unusually appealing adventure that offers more depth than meets the eye.

Certain Women more than justifies itself as a serious argument for the beauty of the small and intimate drama and the importance of female-driven filmmaking.

The Northman is wild, startling, fascinating, and phenomenal at once, but hopefully it’s just the beginning of Eggers regularly being handed sizeable budgets to deliver more sprawling near-masterpieces.

An exuberant visual poem reflecting the life and politics of the Chilean poet, Neruda is much more than a simple biopic.

The acting, craft, and tone of Sicario are so precise that the absurdity of this cartel yarn is both its greatest weakness, and maybe its entire point.

The latest Denis Villeneuve achievement, Blade Runner 2049 is the rare sequel that both pushes the franchise to challenging new places and serves as a natural extension of what's come before.

A searing and pivotal documentary about the prison-industrial complex, Ava DuVernay's The 13th is a truly frightening film that galvanizes its viewers to action.

The Levelling is a wonderful first feature from Hope Dickson Leach. Morose beyond measure, but leavened with subtle hope via Ellie Kendrick's superb central performance.

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

Everything Everywhere All At Once understands that the world is infinitely big and scary, and that we often feel like we are the worst versions of ourselves. And yet, it manages to effectively advocate for us to keep going, to seek the connections and moments that make life worth it.

From BAFTA-nominated director Aleem Khan, and BAFTA-winning actress Joanna Scanlan, this visceral exploration of grief offers one of the most honest and generous representations of middle-aged womanhood in recent memory.

This is a masterpiece of woven ancestral roots and the importance of “familia,” confident in song and poetic in vision.

As a timely testament to our willingness to validate and support rather than investigate, White Lie is both insightful and terrifying.

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

It’s a wonderfully bizarre movie set in a world that at first glance might be our own, yet quickly slides off the rails into gonzo territory.

Us is an impressive and astonishingly hair-triggered sophomore feature squarely positioned to decimate genre audiences. It’s purposefully vague, but jam-packed with more memorable genre imagery and inquisitive discussion starters than most braindead by-the-book cinematic offerings beholden to formulaic blueprints.

Visually, Moana shines like a diamond at night.

With Glass Onion, Johnson and Craig have created a sequel that not only earns its keep but promises that subsequent installments in the franchise will deliver both reinvention and all the comfort and intrigue of the classic whodunit that filmmakers come back to time and time again for a reason. It’s pure fun, and it’s clear Johnson reveres the genre enough to cleverly break the rules.

Tom Cruise has only gone and done it again, with 'Mission: Impossible - Dead Reckoning Part One' delivering a stunning summer blockbuster that'll leave you wondering how it can possibly be topped next summer.

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.

Huesera is a sermon, a spell, a treatise on how destructive societal expectations and motherhood in general can be to someone’s identity.