Robert Pattinson plays up To Catch a Predator host Chris Hansen’s moral ambiguity in Lance Oppenheim’s Primetime.
Austin Abrams is a medical delivery driver having a terrible, no-good, very bad day in Zach Cregger’s Resident Evil adaptation.
A lovable children’s TV show character becomes increasingly unhinged in the new horror comedy Buddy from Too Many Cooks director Casper Kelly.

Nani and Srikanth Odela give pan-India spectacle, but The Paradise lacks in emotional substance.

With breathtaking landscapes and a breakneck pace, Na Hong-jin’s Hope might be one of the craziest films you see this year.

Kane Parsons becomes the latest (and youngest) in the YouTuber-to-horror-filmmaker pipeline with the A24 adaptation of his Backrooms liminal space series.
‘Supergirl’ might be a mediocre movie, but it hardly marks the death of female superhero cinema, as some on the internet might claim.
Steven Spielberg brings his signature sense of wonder to Disclosure Day, along with John Williams’ score and Janusz Kaminski’s cinematography, but the sci-fi story doesn’t quite live up to the sum of its parts.
Kane Parsons becomes the latest (and youngest) in the YouTuber-to-horror-filmmaker pipeline with the A24 adaptation of his Backrooms liminal space series.
Star Wars: The Mandalorian and Grogu brings our small-screen duo to cinemas with a standalone adventure that thankfully avoids empty fan service, but doesn’t quite hit the highs of the Skywalker saga.
‘Exit 8’ adds depth to a popular Japanese liminal space video game, creating an effective, surprisingly tense psychological horror film.
Robert Pattinson and Zendaya star in The Drama, Kristoffer Borgli’s jet-black comedy about a happily engaged couple whose love is put to the test after a shocking revelation during a party game.
‘Project Hail Mary’ couples Ryan Gosling’s charm with a sci-fi sense of wonder for a story about the value of connection, cooperation, and compassion.