Apple TV has paired Ryan Reynolds and Kenneth Branagh in ‘Mayday’, an 80s-fueled, action-packed comedy that continues to prove why the streamer may just be the best streaming service available.

Adam Wingard’s ‘Onslaught’ proves that old-school finesse is still within the realm of reason, blending all the right elements of classic genre hits with the mastery of today. 

Director Casper Kelly reminds us how deeply unsettling ‘90s childhood shows were by simply adding a horror prism to mascot figures in his feature directorial debut, ‘Buddy’.

Willem Dafoe and Greta Lee give two of the year’s most moving and profoundly tragic performances in Kent Jones’ ‘Late Fame’.

Director Ridley Scott returns with his latest film ‘The Dog Stars’, an adaptation of the beloved novel by Peter Heller that thankfully leans far more human than apocalypse.

Finally released to the world, Dave Green’s ‘Coyote vs. Acme’ lives up to the hype and proves to all of us that any movie is worth releasing, no matter the cost.

Jason Statham is back to dispose of more despicable human beings on the big screen in ’Mutiny’, a thriller that proves to be yet another reliably entertaining, lean, and mean vehicle for the beloved action star.

Despite one of the year’s best ensembles, Karim Aïnouz and Efthimis Filippou’s reinterpretation of a Marco Bellocchio classic in ‘Rosebush Pruning’ ends up being a massive nothingburger.

Audiences will be able to venture into the horrifying realm of the further yet again in ‘Insidious: Out of the Further’, an installment which takes much needed steps forward to expand the lore and mythology of the series while delivering the most chills since the original.

Matt Johnson deconstructs – and complicates – the very nature of biopics by drawing a tragic portrait of Anthony Bourdain’s youth in the masterful ‘Tony’.

Kristen Stewart and Alia Shawkat pair up for the year’s best hangout movie with ‘The Wrong Girls’, a movie that functions best when you don’t try to think about it too much.

Despite an incredible lead performance from Haruka Ayase, fillmmaker Hirokazu Kore-eda struggles to translate many ideas on screen in ‘Sheep in the Box’, making it a massive misstep for the prolific Japanese auteur.

While not without its flaws, ‘The Last House’, a film that draws inspiration from something such as M. Night Shyamalan’s early days, shouldn’t be dismissed, especially given how aesthetically and thematically sturdy it is.

While the laughs may not flow as much as the first two films in the franchise, the Broken Lizard crew still gives us a hefty dose of shenanigans with ‘Super Troopers 3’.

Eli Roth’s name being attached to ‘Ice Cream Man’ will be enough to grab the attention of many horror fans. But while critics most often fail to connect with his work, Roth’s diehard fans have long jumped in front of the sword to defend him. Ice Cream Man may change all that.

Despite an alluring visual language and decent performances from both Pascale Bussières and François Arnaud, filmmaker Wiebke von Carolsfeld’s ‘Someone’s Daughter’ seems afraid to explore the central topic at the heart of the movie.

While Seidi Haarla gives filmmaker Hannah Bergholm’s ‘Nightborn’ a real dramatic heft, this Cheval Noir-award winning picture quickly bludgeons the audience with the same old tropes, ideas and irritating shrieks that ultimately signify nothing.

Tom Holland’s wall-crawler is back on the big screen yet again in ‘Spider-Man: Brand New Day’, an installment that is not only the best entry in the series yet, but one of the best Spider-Man films - period.

Thanks to its committed performances and an impeccably controlled aesthetic palette, director Nicky Murphy gives us a mockumentary for the ages in ‘I Love Paris’, which can even put What We Do In the Shadows to shame.