Endgame is the superhero equivalent to an original cast revival in a long-running Broadway show, and often has the same hair-raising effect.

Its abstract foundation is incredibly fertile creative ground, but 'The People's Joker's nuclear, self-indulgent execution is the downfall to its buzzworthy rise.

Driven by Stanfield’s performance, an intelligent story, and an even more impressive structure, this film is as funny as it is bizarre, and as bizarre as it is clever. It succeeds enough early on that Riley trusts he’ll hold everyone’s attention as he jumps off the deep end.

While watching 1917, there’s a sense that you’re waiting for a fresh take or an interesting point that never comes. Audiences don’t need this movie to tell them that war is hell. But for those striving to get closer to experiencing that hell, Deakins and Mendes achieve something few war films before them have. They just needed a grander reason for doing so.

While horrifying on the outside, Fargeat’s latest hit tells a heartbreaking story on the inside. For that, it’s a must-see this year.

If your script is good enough to pull Steven Soderbergh from “retirement,” color me intrigued. Such is true of Logan Lucky. An Ocean’s 7-11 hootenanny with Southern charm and Coen sensibilities.

Robert Eggers' reimagining of the 1922 classic "Nosferatu" delivers a visually striking but uneven Gothic horror experience, elevated by Lily-Rose Depp's captivating performance and stunning second half.

The awe-inspiring strength of 'Fancy Dance' is as softly sensational as it is proudly singular, and Gladstone is breathtaking throughout; Indigenous voices are a necessity to filmmaking.

Till is a moving story of grief that America needs to remember and will likely bring you to tears by the last scene, if not sooner, as it did this reviewer.

Jordan Peele mixes and matches elements taken from big blockbusters and obscure subgenres alike to create a heart-racing nightmare that rains abominable filth down on its audience.

Thanks to its meticulous Craftsmanship, unsettling narrative, and Nicolas Cage's most harrowing role yet, 'Longlegs' is a masterclass in psychological horror that lingers long after the credits roll.

Self-assured, brimming with conviction and intellectually demanding - Women Talking is what cinema should be about.

As people have been forced to spend extended periods away from loved ones, often in less-than-ideal circumstances, God’s Country is certain to hit home hard.

Personal Shopper is enigmatic and inventive. This is daring and rule-bending filmmaking at a minimalist scale, a personal, contemplative horror movie, stripped of observable fright but full of unease.

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.

Win It All is another Swanberg special that hits upon the most human aspects of a gambler's curse, so perfect for Jake Johnson's leading take.

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.

Evolution is undeniably beautiful, but it's a small-scale story which ignores a larger world that needs far more exploration.

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.

The Beguiled is a deliciously dangerous period thriller that refuses to let a man's privilege go unchecked like the Hollywood standard.

Detroit is, for lack of a better term, a pornographic echo chamber of resentment. Trying to put out a fire with ten more tankers full of gasoline.

The Edge Of Seventeen boasts an emotional journey filled with wit, humor and heart, resting easy on the back of Hailee Steinfeld's dynamite performance.

It’s not just one of the best superhero movies ever – it’s a damn-fine cinematic representation of the human condition in all its agonizing forms.

The Disaster artist is obscurest hilarity set to a filmmaker's struggle, all linked to James Franco's transformative performance as the mythical Tommy Wiseau.

Lady Macbeth begins as a biting tale of female empowerment but slowly reveals itself to be something much crueler. Period pieces rarely feel this contemporary.

Dolemite Is My Name belongs to Murphy.

Guardians Of The Galaxy is everything we go to the movies for, as Gunn is able to build an intricate intergalactic world full of multiple races, lush scenery, and maximum escapism through action, romance, comedy, and interstellar drama.

The Blind Man Who Did Not Want to See Titanic is unlike any rom-com ever made, being blessedly free from formula, devoid of meet-cute dynamics, and disarmingly tragic in its set-up. That being said, it is also the most inspired and inspiring piece of bittersweet comedy romance ever made, defined by unwavering optimism and unrivaled hope in the face of God-given adversity.