Scott Derrickson flexes his genre-loving muscles with Black Phone 2, repurposing the cloistered setting of the 2022 original for a more aesthetically and thematically exciting entry in the now-franchise.
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Rose Byrne gives the best performance of her career in Mary Bronstein's If I Had Legs I'd Kick You, which could be considered as the cinematic equivalent of a terrifying panic attack.
The Lost Bus is carried by a great Matthew McConaughey who sadly cannot overcome the screenwriting ineptitudes of Paul Greengrass and Brad Inglesby, as they eexploit a real-life horror story for awards consideration.
There's no cutting the chase: The Strangers – Chapter 2 is 2025's worst film. Embarrassing in all conceivable aspects, Renny Harlin somehow makes an even worse installment than the already terrible first chapter.
While HIM contains a great performance from Marlon Wayans, the rest of the movie contains some of the year's emptiest images, utterly devoid of any significance and thematic intrigue.
Thanks to an expert sense of craftsmanship and a commanding lead performance from Austin Butler, Darren Aronofsky seemingly apologizes for The Whale with his adrenaline fueled, anxiety-riddled Caught Stealing, and makes his best film in years.
While it suffers from a few familiar narrative beats, Disney's Elio dazzles with its artful animation and poignant dramatic underpinnings.
With The Life of Chuck, Mike Flanagan once again touches upon the work of Stephen King with a profoundly affecting, often devastating, movie, encouraging audiences to live their best possible lives.
While Straw has three terrific performances from Taraji P. Henson, Teyana Taylor, and Sherri Shepherd, Tyler Perry may have bitten off more than he can chew.
While Shadow Force lacks in compelling action sequences, it more than makes up for its aesthetic inconsistencies with two highly entertaining performances from Omar Sy and Kerry Washington at its core.
While Nicolas Cage shines in a role that fully displays his kookiest strengths, the overall picture of Lorcan Finnegan's The Surfer isn't as entertaining, or as weird, at is should.
Despite screenwriting inconsistencies, Gareth Evans draws a compelling actioner in the back half of Havoc, filled with the most staggering visual poetry of the year.
While The Amateur does not reinvent the wheel, its assured sense of style and magnifying performance from Rami Malek elevate the spy thriller genre.
Freaky Tales cements Anna Boden and Ryan Fleck in the pantheon of the best directing duos working today with a no-holds-barred celebration of what makes genre cinema so great.
While The Life List is bolstered by an impeccably modulated lead performance from Sofia Carson, the movie itself can't escape its predictable narrative trappings.
Tyler Perry's Duplicity is getting mixed reviews. Check out our thoughts within.
Scott Derrickson elevates The Gorge through its artful visuals and a thrilling techno-heavy score from Trent Reznor and Atticus Ross, even if its storytelling frequently stumbles throughout its 128-minute runtime.
Sophie Thatcher and Jack Quaid deliver incredible performances in Companion, but the results of Drew Hancock's narrative swings are more confounding than they are compelling.
Peter Hastings brings DreamWorks Animation back to their Shrek 2 days with their latest animated offering in Dog Man.
With Flight Risk, Mel Gibson returns to the director's chair for a movie that severely lacks his filmmaking standards, despite one of Mark Wahlberg's best performance in years.