Think of the nastiest, squelchiest, most squirm-inducing body horror you’ve seen in a movie, something like The Thing, The Fly, Slither, Possessor, Videodrome, or any other gross favorite. Amplify that two or three times and you’ve got The Substance, the latest feature from the increasingly promising French filmmaker Coralie Fargeat. Barf bags not included but recommended.

Expertly tight filmmaking that leaves you holding your breath without realizing it, backed by a winding yet gripping story that you can’t afford to miss the end to.

While falling short of the cult classic original in several ways, this latest take on the graphic novel still boasts plenty merit of its own.

The director of 2013's Evil Dead  brings his visceral brand of terror to the Alien series, playing the hits to effective but mixed results.

Shyamalan proves once again to be at his greatest when playing with a contained B-movie type of story, and this particular one about a good dad who just so happens to also be a serial killer unexpectedly turns into one of his very best.

Deadpool’s third adventure is a fun and funny romp through the multiverse with a surprising amount of heart as well, and a clear sweet spot for the very things it's poking fun at.

Refreshingly free of heavy-handed nostalgia bait, this standalone sequel to the 90s classic is the perfect summer blockbuster.

Has the rare ability to linger in your mind thanks to its chilling direction and performances.

it’s the messiest of the three films, tripping over itself a bit tonally, but still delivers a bloody and satisfying ending for fans of this particular sinful tale.

Michael Sarnoski makes the jump from indies to blockbusters with Day One, but brings his character-focused sensibilities to the apocalyptic spectacle that’s been promised. It’s the best of the franchise by far.

Inside Out 2 is certainly effective and entertaining in its own right, though it just shows how far Pixar still has to go if they really want to complete the challenge of surpassing rather than just rehashing themselves in the years to come.

There are a few fun ideas throughout In a Violent Nature, yet few of them seem to quite gel with one another. A fresh and engaging take on a worn-out premise runs thin by the end, while the rest is a tonally confused mixture of the slasher genre’s worst tendencies.

Late Night with the Devil conjures up memorable frights and characters within its brisk 93 minute runtime, solidifying Dastmalchian as a star and establishing the Cairnes’ as a directing duo worth keeping an eye on. Despite its flaws, it’s a solidly entertaining and original horror film that’s sure to amass its own devoted fanbase with time.

The American Society of Magical Negroes is a mixed bag of engaging ideas about Blackness in the United States, and while it can’t quite reconcile its juxtaposing approach, it still deserves credit for the daring ways it attempts to push the conversation.

Filmmaker Sean Wang genuinely captures heartfelt sentimentality, laugh-out-loud teen antics, and painful truths in Dìdi.

The best part of Freaky Tales is the fact that it just keeps getting better and better as it goes on. 

The director’s first Hollywood film in twenty years makes it clear that he hasn’t lost his touch, but a stronger (or at least more interesting) foundation to launch his signature style on might have made for a more satisfying comeback.

Disney’s Wish plays all the hits and ends up showcasing both the best and worst of what the studio’s storytelling is all about.

David Fincher brings his usual style to a smart and surprisingly funny tale of a professional hitman dealing with a job gone wrong.

There are certain moments from the original The Conjuring that have stuck with me for a decade and counting. I’d be surprised if I remember anything from The Nun II within the next couple of weeks.