Sam Esmail’s apocalypse thriller turns technological collapse and social mistrust into gripping, visually audacious dread. Its blunt messaging and emotionally remote payoff hold it back, but the formidable ensemble and controlled paranoia earn a strong recommendation.
Brandon Cronenberg’s resort nightmare combines fearless performances and tactile hallucinations with a class critique that loses focus as the degradation escalates.
Free Guy has charm, a clever agency fable and an excellent Jodie Comer, but its best ideas get buried beneath exposition, noise and corporate winks.
M. Night Shyamalan turns a tropical beach into an existential trap in Old, an uneven but memorable thriller whose images are stronger than its explanations.
Michael Mohan’s erotic thriller turns windows and lenses into instruments of seduction, but its elaborate plotting cannot sustain that initial tension.
George Miller’s apparent chaos is built on rigorous visual discipline, giving Fury Road extraordinary speed, clarity and personality.
A brutally effective grief nightmare, Bring Her Back turns an unsafe foster home into a pressure cooker of dread. Sally Hawkins, the young cast and stomach-churning practical effects carry it past some familiar plotting and murky mythology.