Directors Phil Lord and Christopher Miller are back at it again, this time adapting Andy Weir’s beloved novel ‘Project Hail Mary’, delivering a miraculously well-made sci-fi adventure that is as ceaselessly entertaining as it is achingly hopeful.

Writer/director Maggie Gyllenhaal takes aim at Mary Shelley’s beloved Frankenstein, with ‘The Bride!’ delivering her own inspired riff on the source material that while bold, audacious and singular, swings for the fences with an audible whiff.

What happens when three nuns and a young boy go on a journey across New Zealand? You get one of the best indie movies of the year in ‘Holy Days’.

Michel Franco’s ‘Dreams’ fails to meet the moment with a mostly empty erotic drama that takes a repulsive turn near its allegedly shocking denouement.

Ghostface and his iconic getup are back to terrorize Sidney Prescott yet again in ‘Scream 7’ - a fierce, fun, but ultimately messy sequel that shows a franchise that is beginning to show signs of wear and tear.

Awful in almost every conceivable way, ‘Psycho Killer’ is a note-perfect exercise in screwing things up from the get-go and never recovering as it trudges through a ridiculously inert conclusion.

Writer/director John Patton Ford returns with ’How To Make A Killing’, a deliciously entertaining tale of how the pursuit of money and status can corrupt and poison, which showcases yet another stellar turn from Glen Powell.

Thanks to incredible, career-best performances from Alexander Skarsgård and Harry Melling, Harry Lighton’s ‘Pillion’ overcomes a relatively conventional story with a transgressive approach to sexuality and offers a glimpse of a world audiences rarely see depicted in mainstream cinema.

Writer/Director Emerald Fennell returns with her third feature, this time tackling an adaptation of Emily Bronte’s beloved novel ‘Wuthering Heights’. With a fresh, unique approach and two perfectly cast leads, this adaptation hits the bullseye far more than it misses the mark.

After a long absence, writer/director Bart Layton is back with ‘Crime 101’, a refreshing and old-fashioned crime thriller that thankfully doesn’t waste a tremendously good cast.

Despite a well-mounted cast and a cogent subject matter that should theoretically work in the hands of such an assured genre stylist, Gore Verbinski’s ‘Good Luck, Have Fun, Don’t Die’ is an excruciatingly dull sci-fi comedy with a refusal to say anything meaningful.

Thanks to a deeply affectionate turn from Carmen Maura, Maryam Touzani’s ‘Calle Málaga’ will tug at your heartstrings and perhaps break you into a million pieces until you are renewed by a feeling of hope and tenderness. 

With an intriguing young cast, including Daphne Keene and Sophie Nélisse, and a somewhat original premise, Shudder’s ‘Whistle’ shouldn’t just be background noise. But it is.

After two decades, Sam Raimi finally returns with another R-rated feature in ‘Send Help’, a gnarly, ferocious return to form that will remind audiences what a wildly fun and singular filmmaker he is.

Despite star Charli XCX’s well-documented cinephilia, ‘The Moment’ struggles to find a strong cinematic identity

Thanks to a committed (French-speaking) performance from Jodie Foster, Rebecca Zlotowski’s ‘A Private Life’ is an intriguing mystery film.

Thanks to heartfelt performances by Claire Foy and Brendan Gleeson, Philippa Lowthorpe’s ‘H Is for Hawk’ is effective enough to hold our attention, even if the approach taken here feels a bit too pedestrian.

Screenlife auteur Timur Bekmambetov attempts feats of ingenious IMAX 3D artistry with ‘Mercy’, but the results fall so flat they become unintentionally laughable.

Director Nia DaCosta’s take on the ‘28’ franchise brings bold tonal swings and dials up the madness in the latest sequel, ‘28 Years Later: The Bone Temple’.

It might be a simple - perhaps, even bland - but ‘Tafiti: Across the Desert’ is far from the worst film about a pig and a meerkat meeting and becoming friends, and it teaches valuable heartfelt lessons that the family will enjoy.