James Ashcroft’s sophomore feature is another bleak examination of humanity through the unique lens of a retirement home held hostage by one of its residents.

Alex Parkinson’s narrative adaptation of the 2019 documentary of the same name is an underwhelming and shallow retelling of an incredible tale of survival.

Kwon Hyeok-jae’s continuation of The Priests franchise is a bleak but unremarkable exorcism film bolstered by its lead performances.

Donnie Yen’s latest film contrasts spectacular action sequences with an underwhelming courtroom drama.

A ghost story told from the perspective of the ghost, Steven Soderbergh’s latest experiment in film is a fully realized exercise in agency and empathy.

Tim Fehlbaum’s latest film is an exacting portrait of ethics and objectivity in live journalism, with a cast and attention to detail that elevates its workmanlike approach.

Christian Gudegast’s sophomore directorial effort is a confident tonal shift of a sequel to one of 2018’s most surprisingly refined action films.

Woo Min-ho’s latest historical political thriller is an uninteresting depiction of resistance in Japanese-occupied Korea.

Edward Berger's papal thriller turns an otherwise sterile screenplay into a lavish and focused commentary on the current political landscape.

Max and Sam Eggers' feature directorial debut pits an expectant mother against her mother-in-law while trying to balance unsettling actions with non-stop comedy.

Jeremy Saulnier's latest film confronts corruption and injustice through the determination of its formidable protagonist.

Fede Alvarez takes a swing at iterating on the Alien franchise with a playful amusement park of thrilling set pieces and terrifying imagery.