Olivia Wilde’s third feature astutely dissects what it’s like to both love and hate parts of your long-term partner.

One of David Cronenberg’s best films and a peak of ‘80s horror, The Fly holds up 40 years later thanks to its gruesome makeup effects, a perfect match-up of Geena and Jeff Goldblum, and a haunting allegory for losing a loved one to aging and disease.

After taking a hiatus from feature films, ‘90s New Queer Cinema provocateur Gregg Araki is back to pervert audiences with an all-star cast in tow.

The narrative feature debut of documentarian and writer-director Daniel Roher follows a reserved piano tuner with a hearing disorder who turns his talents to safecracking.

Director David Lowery pits Anne Hathaway and Michaela Coel against each other as two former collaborators exorcising the (perhaps literal) ghost of their past estrangement.

Antoine Fuqua’s paint-by-numbers biopic wants to be startin’ somethin’ about the King of Pop—too bad it has nothing to say about its characters’ human nature.

Tonally imbalanced at times and not afraid to cross lines, Jorma Taccone’s Over Your Dead Body is a funny, gruesome rollercoaster with a superb cast and truly killer final section.

Petra Volpe’s new film is not only a compelling work of stripped-down cinema, but also important viewing for non-medical civilians like myself only experience healthcare as a patient.

This one’s for the hardcore horror fans, who have been given the gift of seeing mummified flesh ripped off on an IMAX screen. Enjoy it while you can.

In Steven Soderbergh’s latest, the director deconstructs many of the heist-genre elements he popularized in the Ocean’s Eleven franchise, peeling back the layers to reach a surprisingly touching, emotional core.

Bob Odenkirk’s latest action flick, which is most definitely not a Nobody sequel, is a John Wick-meets-Fargo mashup that works even if it doesn’t go out of its way to do anything special. 

Kat Coiro’s Italy-set rom-com starring Halle Bailey and Regé-Jean Page may not break a ton of new ground, but it’s the kind of big-hearted, escapist cinematic fantasy we don’t get much anymore.

Besides an incredibly fun theatrical experience, Kenji Tanigaki’s third feature feels like a sea change moment for action movies: from now on, there’s only before The Furious and after.

While still full of relevant social media criticism and interesting meta ideas, Faces of Death is ultimately a curiosity rather than a gutting, must-see horror experience. 

Kristoffer Borgli’s follow-up to Dream Scenario is a provocative use of the rom-com format that tries to see how far the genre can be stretched, walking right up to the limit before it breaks.

Tom Stern’s new documentary on cult noise-rock acid-trip group The Butthole Surfers is an exhilarating experience.

The second feature film by Canadian director, writer, and actress Grace Glowicki brought me back to that feeling of being a kid looking at the horror section at Blockbuster, full of movies with outrageous covers I wasn’t allowed to check out.

Using familiar narrative tropes to tell a purposeful story about trans kids and their parents, Fia Perera’s Mermaid succeeds thanks to its touching central relationship.

This is an ambitious take on the kung fu martial arts film, made by an Italian team with character-driven drama that feels grand within the scope of a relatively modest budget.

Ian Tuason’s debut feature was made for just $500,000 and succeeds by using its budget limitations to its advantage.