"Hostiles" director Scott Cooper swings from the wild west to the wintry east, where occult rituals and violence awaits. It's intriguing, until it isn't.

The director behind "Get Out" and "Us" affirms his status as one of America's most thoughtful, most entertaining young filmmakers.

Bradley Cooper plays a slippery schemer in del Toro's latest blood-tipped fantasia, and he’s joined by several other A-listers.

The twisty filmmaker rebounds from the mismanaged "Glass" to deliver a beachside allegory as funny and tense as it is poignant.

The director's best movie since "High Flying Bird" sees him turning his eye once again to capitalistic structures with divinely entertaining panache.

Though its script gets bogged down in a carousel of people and perils, Robert Connolly’s sun-baked new movie succeeds thanks to its strong sense of emotional fragility and the questions surrounding its lead character.

Mohammed Rasoulof shot his latest project in secrecy, having been targeted by his home country in the past for the revealing stories he tells. It went on to win the Golden Bear in Berlin.

Originally scheduled for pre-pandemic release, Joe Wright's movie writes itself into a suspenseless corner. It lands on Netflix Friday.

Jason Statham returns to a cold-blooded world of firefights and fistfights, but there's no tangible drama in this crime drama.

The sophomore feature from Ilya Naishuller confirms him as a filmmaker of the ferociously hardcore, leave-the-kids-at-home, make-you-wince-once-or-twice variety.

An occasionally cunning, candy cane-sleek thriller that is far more interesting for where it arrives than how it arrives there, “I Care a Lot” is the kind of movie you come away from unable to reflect on the first 110 minutes because the last five are so ferocious in vying for the spotlight that we feel compelled to at least humor it.

“The Little Things” is a classic old blood/new blood story coursing through clogged narrative arteries, enlisting Denzel Washington as venerable ex-investigator Joe Deacon and a robotic Rami Malek the down-to-business young cop who has been successful up to this point in keeping the ugliness of the occupation out of his cozy home life. Joe hasn’t been as lucky; he’s psychologically worn down by a series of past slayings, the culprit of which remains free. But something else about that history keeps peeling the scab open afresh, and as much as “The Little Things” is about us watching Joe following a killer’s breadcrumb trail, it also fashions us into detectives trying to piece together his past.

In the playfully rebellious new movie “I Blame Society,” the young filmmaker Gillian Wallace Horvat steps in front of her camera to give one of the most unpredictably self-aware performances since, well...whatever it is the last thing Nicolas Cage did. Whether that makes it a great performance is a different question. But if one barometer of an actor’s effectiveness is how confidently they skate right up to the edge of incredulity without slipping over, then the answer is leaning towards the affirmative.