45 Best 2024 Thriller Movies to Watch

The journey of transitioning can be tough, but it’s not likely to be as wild as the journey undertaken by the titular rich mob boss of the crime thriller romance musical Emilia Pérez. It’s pretty surprising, with the incredibly stylish and totally unpredictable ways the plot unfolds, all made possible by the ridiculous all-or-nothing methods and means of a Mexican mob, and it’s a delight to see Zoe Saldaña and Selena Gomez feel at home in their respective Spanish-speaking roles. There are certain moments where the film bites off more than it can chew, but the visuals are stunning, the story is daring, and there’s really nothing like Emilia Pérez right now.

It’s What Inside can seem like another obnoxious movie about adults acting like teens, edited with enough neon glare and social media cuts to make it palatable to a younger crowd. But the horror comedy is more than just streaming fodder; it’s fun, funny, and clever, unfolding like a game night gone terribly wrong. There are romantic entanglements, identity crises, steamy role play, and welcome jabs at our generation’s increasing tendency to replace personality with social media presence. Its critique may not be as sharp as other horror comedies that have come before it (most recently, Bodies Bodies Bodies and The Blackening), so it can feel a bit dated. But it’s still an enjoyable watch, one best seen with friends who you haven’t seen in a long while and who have maybe, once or twice, made you feel painfully, irrationally, (murderously?) jealous.

Real life violence is usually not a good idea, but when those in power would do anything to gain more power at the expense of those more vulnerable, sometimes those with the strength should wreak violence. After a fruitful action-comedy collaboration with Netflix, writer-director Timo Tjahjanto teams up with them again for a darker crime thriller The Shadow Strays. It’s a straightforward rescue crime thriller that follows the trend set by John Wick, but with Tjahjanto’s insane horror-inspired, gore-filled kills and Aurora Ribero’s dynamic performance, The Shadow Strays is brutal, exciting, and a cathartic watch in a world betrayed by those at the top.

While not having world-ending stakes or large-scale operations, Sixty Minutes just works as an action movie. Sure, the plot is familiar and a little far fetched, but the film maximizes the potential of its premise, with excellently choreographed fight sequences working in tandem with the cinematography to reflect the MMA fighter leading the movie. Each moment isn’t wasted, with the action escalating each time Octa finds out about the hidden information kept from him about the match he’s planned to skip, and the film easily keeps track of his journey through neon-lit stopwatch faces and maps. And when we (and Octa) feel tired from all the fighting, the film ends right on time after sixty (and twenty nine) minutes.

Far from a typical documentary, Skywalkers is as relentless and fast-paced as the climbers it follows. As Angela Nikolau and Ivan Beerkus illegally scale towers and skyscrapers with little more than the clothes on their back, Director Jeff Zimbalist throws viewers into the next thrilling scenario whether they’re ready to or not. It’s amazing how much of the breathless editing replicates the energy between Nikolau and Beerkus, regardless of whether they’re in action rooftopping or deep in an argument about trust and relationships. The film has a deep emotional core that makes it resonate more than it should; people might come in for the extremity of their sport, but they’ll leave learning something worthwhile about love.

Based on a bizarre true story, Woman of the Hour follows Cheryl (Anna Kendrick), a struggling actor, and Rodney (Daniel Zovatto), a serial killer, as they participate in a dating game show. Part of the film is about the tense cat-and-mouse chase that happens between the two, but other parts are less tight. There are flashbacks and flashforwards to Rodney’s other exploits, as well as a subplot about one of the victim’s friends seeking justice. Then underlying everything is a potent message about the misogyny that ran rampant in the 1970s. Feminism is supposed to be the throughline that ties everything together, but an imbalance in tone and a clumsy attempt to jam as many stories as possible results in a film that feels sorely undone. It’s admirable that Kendrick, who’s made her directorial debut with this movie, has decentered the focus from the serial killer to the female victims. I’ve had about enough of true crime outings romanticizing the killer. Kendrick is a promising director to be sure. But if only the narrative were tighter, then the film could’ve been memorable, too, instead of just meaningful.

After the critical and commercial success of Concrete Utopia, it makes sense for Lotte Entertainment to turn it into a franchise. Badland Hunters is a more action-focused spinoff, with that dystopian world looking like a wild, wild Seoul and Ma Dong-seok as its lone ranger. Compared to its predecessor, the commentary is scant, the plot is thin, and the only thing that connects it is the apartment. But even with the B-movie mad scientist plot, long-time stunt coordinator Heo Myung-haeng makes his directorial debut wildly entertaining, with solid action that doesn’t depend too much on CGI. Human reptiles aside, Badland Hunters is just so fun to watch.

Mystery films and whodunits have placed the rich and powerful in their crosshairs for generations now, and Murder Mubarak proudly follows in that tradition through a tried and tested formula. So while there isn’t anything particularly surprising here, the film nails the tone it needs, smartly placing the focus away from the central crime and poking fun at the entire ecosystem of privilege and ego that gets revealed in its wake. Unfortunately, the movie also doesn’t sustain this momentum till the end, as it abruptly stumbles toward its inevitable revelations without giving itself time to let the consequences breathe. When it’s all over, it actually feels like we don’t know many of these individual characters any better than the overall situation they’re in.

Directed by Indonesian filmmaker Mouly Surya (Marlina the Murderer in Four Acts), Trigger Warning is a technically impressive film that boasts beautiful cinematography and a handful of skillfully choreographed action sequences. Unfortunately, it’s let down by a mediocre and occasionally inconsistent script, as well as a less-than-stellar lead performance by Jessica Alba. Alba’s stunt double does well enough, but the actress herself is too lightweight to hold her own scenes. The CGI-ridden cold open doesn’t do it any favors too, sadly setting the tone of this promising but ultimately disappointing film.

I’m sure the novel Uglies is based on makes a lot more sense since it has a lot of space to world-build and explore themes like external beauty, class, and identity. Unfortunately, the same cannot be said about the movie Uglies, which is almost impressively out of date in look and tone. The CGI is 2000s-level wonky and the premise is unconvincing. You’re telling me these Hollywood kids are supposed to be ugly? So ugly that they’re nicknamed after their defects— “Nose,” “Skinny,” and “Squint”? What would they call normal-looking people like us? Slurs? And don’t get me started on their “pretty” versions. It’s literally just them with layers of makeup and a touch of Botox, which I suppose could be the point, but also…just wear makeup? It’s mind-numbingly confusing. The world of the Uglies doesn’t even seem that bad—they’re fed, roomed, allowed to explore their environment, and create friendships. A lot of people in the real world would kill for that level of comfort. If freethought is what’s being killed here, then they should have focused on that more. Ironically, the movie itself seems too preoccupied with looks to get that, so what we get instead is this half-baked mess.

There are plenty of things that The Thicket does well. For starters, the performances are great, with Game of Thrones’ Peter Dinklage taking his charisma to a wintry Western, and Juliette Lewis matching this intensity as his raspy, iron-willed rival. The style is certainly great too, with excellent costumes, dynamic violins, and lingering, meticulously framed shots. But there’s just something off about the way everything comes together. This tale of misfits certainly takes familiar Western tropes, and brings them together in fairly interesting ways as it gets going, but it starts off with a disappointing start, without a compelling dynamic between Jack and his sister Lula, and without a compelling dynamic between everyone on the ride. The Thicket isn’t terrible, but it’s a tad uneven at times.

With the success of Killers of the Flower Moon, there’s a renewed interest in authentic and respectful depictions of Native American stories. Low budget supernatural horror might not be the best approach, considering its history of stereotyping, but The Windigo is a fairly sincere stab at reframing the genre. The wicked looking, titular creature pulls together plenty of the issues Native Americans currently face, such as forgotten culture, violence, and institutional negligence, but the film also surprisingly delves into past collective trauma some of these communities have experienced. The Windigo plays out the way you would expect a creature feature to be, but the film could have been so much more with better execution.

Being based on the 1989 Patrick Swayze movie, we weren’t expecting much from the new Road House on Amazon Prime. Like the original, it has fun fight sequences, shot in a way that brings us to the bar itself, and it’s amusing to see actual MMA fighter Conor McGregor acting as an antagonist. However, this adaptation rewrites the main character to be a former UFC fighter, turning the story into something more akin to an outsider cowboy Western rather than a bouncer action drama. It’s not outright terrible, but it just feels uneven, and the cast performances can’t make up for the thinly written characters. It also just doesn’t feel like Road House.

There is nothing quite like The Substance right now. It’s unsubtle, it’s provocative, and its satirical humor can be a hit or miss for some viewers, but it strikes at the one thing that’s fundamental to everyone, that can make or break their lives, yet that is rarely given grace and consideration– that is the body. Legions of people have yearned for youth and beauty, but The Substance systematically outlines how much these have been intertwined with our livelihoods, opportunities, and identities, and how other entities would capitalize on this yearning and push many of us to take that out, suck that out, literally, from ourselves. The Substance does this all with insane, frenetic energy.

“Inner beauty is what counts” is a cliche many films have tried and failed to tackle, but A Different Man manages to make it feel unsettlingly new. The film follows Edward, a disfigured man who lives a normal but lonely life. No one is overtly mean to Edward—in fact, many are nice—but he’s consumed by the thought of What If. What if he looked like everyone else? Would his neighbor Ingrid finally make a move on him? Would he be the actor he dreamed he’d be? Would he finally get fewer stares on the street? Those questions are answered when a medical trial transforms his face, but they’re rarely pleasant. A Different Man is a dark comedy with some hints of meta; Stan’s character provides the tragedy, Pearson delivers the wry humor, while Reinsve, as the playwright in charge of dramatizing Edward’s life, is the source of the film’s meta-commentary. It’s the weakest link of the three–it feels like a cop-out when it forgives itself for being “exploitative” but the rest of the film’s elements gel to make a modern parable of sorts about appearance and contentment.

Juror #2 is the kind of film that doesn’t waste time: it’s immediately compelling as it throws questions about morality, guilt, and conscience straight to your face. There are familiar people in this stacked cast, including Chris Messina and J.K. Simmons, but it’s Nicholas Hoult as the titular second juror and Toni Collete as the ambitious prosecutor who stand out. The weight of the film’s heavy questions lies on their shoulders, and they convey every feeling—from doubt and remorse to exaltation and hope—with painful clarity. I only the film hadn’t taken the easy way out, and that the debate among the jury could have been thornier and trickier, but as it is, Juror #2 is a compelling addition to our book of excellent courtroom dramas.

Produced by M. Night Shyamalan, Caddo Lake isn’t the most shocking thriller out there. It starts slow, suffers from low-budget CGI, and tends to be schmaltzy at times. But it is, overall, a strong and suspenseful film. Once it kicks into gear and finds its rhythm, it turns into something wholly arresting. The plot twists and turns, while the solid performances of Eliza Scanlen and Dylan O’Brien guide you through them. Its folksy setting adds to the mystical feeling the film is gunning for, too. Don’t expect all your questions to be answered by the end of the film, but be prepared to be taken aback by the eerie mystery of it all.

The Seed of the Sacred Fig bravely takes on the increasingly violent patriarchy and theocracy in modern-day Iran. It follows a family of four—Iman, Najmeh (Soheila Golestani), Rezvan (Mahsa Rostami), and Sana (Setareh Maleki)—and reveals how the political can creep into the personal. Iman, the father, has just been promoted at work (he’s one step closer to being a judge), while his two daughters are budding revolutionaries. The educated girls see through the lies of state television and challenge their conservative parents’ ideas on government and religion. It sounds straightforward, but director Mohammad Rasoulof lets everything unfold subtly and sharply. By the second half, the film transforms into a slow-burn thriller as the family home becomes a microcosm of Iran itself. It’s a brave film helmed by even braver people. Rasoulof and his cast, who filmed in secret to avoid the film ban in Iran, had to escape to Europe after they were interrogated and sentenced in their home country. The Seed of the Sacred Fig can’t encapsulate the entirety of Iran’s troubles, nor does it try, but it’s a good place to start.

It’s kind of amazing how Johnson, who writes, directs, and stars in this feature, narrowly escapes narrative holes by being so darn self-effacing and likable. The female lead Maddy (Anna Kendrick) should be denounced as a Manic Pixie Girl, but because of Johnson and Kendrick’s overflowing charm, you don’t question the flimsiness of her character until much later on. The game itself should not make sense, but because Johnson is so committed in his physical performance, and so arresting in his charisma, all is forgiven. Self Reliance is like a tasty souffle that looks great at the moment, but left for longer, poofs and deflates. As long as you don’t take it too seriously, the film should be a fun if forgettable ride.

In Coup!, the servants of a wealthy, faux-progressive family in 1918 attempt to take over after realizing that the Spanish influenza has granted them leverage over their helpless masters. It’s a dark comedy that shares many similarities with the 2019 hit Parasite. Like the latter, Coup! is largely a film about class warfare, liberal hypocrisy, the devaluation of labor, and survival. It also showcases the endlessly entertaining Sarsgaard and Magnussen, who can make you feel vindicated in one second and squirmish in another. But there’s a missing ingredient in Coup! that makes it feel less like a satire than an imitation of it. Maybe it’s the lack of dedication to the darkness of its tone or the vague, frustrating way it resolves the tension between employees and employers. Perhaps it’s both. Either way, there are some delicious and thought-provoking morsels to be found in Coup!, but nothing filling or hearty to make it memorable enough.

When your parent decides to marry another person with kids, it can feel like you’re not really part of the family, more so, if you’re forced to move to a completely different country altogether. This is the unsettling feeling that drives Cuckoo, directly inspired by the way some cuckoo species engage in brood parasitism, or rely on other birds to raise their young. It’s an interesting concept, and the feeling of exclusion and being out of place is evoked expertly by Hunter Schafer of Euphoria fame, but why Gretchen’s antagonists would bother to do all of this is over-explained yet still feels quite nonsensical. For horror fans willing to go on this bizarre ride, Cuckoo is visually inventive, unnervingly scored, and decently performed, and would be enjoyable, as long as you don’t really think about the logistics of this strange parenting situation.

With inconsistent pacing and a deeply unpleasant protagonist, it’s hard to recommend The Seeding to every viewer. It’s really slow-paced, deeply uncomfortable, and it starts with, of all things, a baby eating a finger. But there’s an interesting style to this arthouse horror, a marriage of desert survival thriller and folk horror that restricts all possible modes of escape through its claustrophobic canyon. As Wyndham gradually discovers a secret community driven back to primitive instincts, director Barnaby Clay inverts the idea of what it means to be one’s fundamental self. Most viewers might not appreciate the story, and the ideas aren’t as cohesive as it could be, but horror fans looking for something new in the genre might find The Seeding fairly interesting.

George Clooney and Brad Pitt are two of the coolest actors to come out of Hollywood, and this film is a testament to this fact. Watching them, you’ll be reminded of how leading men should be effortlessly funny and charming, but there is such a thing as too cool. Clooney and Pitt are so relaxed and unbothered, you rarely feel the danger of some scenes. When they’re chased by a mob of hitmen or enter a mafia house, you can tell from their expressions alone that they’ll survive, which strips all the fun and mystery out of a thriller such as this. Not that the plot is anything to speak of; its bones are formulaic, helped only by the witty dialogue and charming delivery. They can be hilarious, but mostly watching them feels like hearing a joke that’s gone on for way too long. The movie quickly loses its novelty and drags on, picking up only during the Kid’s (Austin Abrams) whose earnestness and liveliness make him a scene-stealer, yes even and especially with Clooney and Pitt there.

In case you didn’t know, Speak No Evil is based on a Danish film of the same name, released only two years ago. Given that the latter was already a hit among horror fans thanks to its unrelentingly bleak approach, it’s tempting to chalk this remake up to narcissism. As was the case with the movies Otto and Let Me In, maybe Americans just wanted something of their own. While that may be true, it has to be said that this remake, in a word, is good. It’s thrilling and terrifying in its own right, and it adds enough new elements to keep you on your toes. Apart from the new twists, the characters are also more utilized and the social commentary on class and masculinity feels more pointed. Through these additions, among others, it’s able to imagine an alternative storyline that will speak to a lot of audiences.

It’s always refreshing to see people in esteemed positions let their guard down, not to mention smoke a vape or gossip feverishly, as we mere mortals do. But Conclave is more than just a candid look at what goes down in a process as elaborate as a papal election. It’s a portrait of man’s innate thirst for power. And since it has more to do with humanity than divinity, it’s also rightfully silly. Cardinals are scrambling for votes and fighting over politics. They can be peaceful and reasonable, but they can also be petty and spiteful, just like any person pressured to vote for their future (or just like any person, period). Conclave is far from perfect—its intentions are murky at times and the visuals, though beautiful, are oddly sparse—but it works because no one in the film, not even the protagonist, is infallible. It’s a welcome reminder of our limitations, regardless of faith.

Given the original real-life story behind it, perhaps it shouldn’t be surprising that The Girl with the Needle was so bleak. Serial killing, after all, is bad. But rather than focus on the historical killer, writer-director Magnus von Horn hones the camera to focus on one such mother that would have sought for help from Dagmar Overbye, on the circumstances that would have pushed them there, and the terror that they felt once they realized the truth. With gothic black-and-white shots, impeccable framing, and an excellent performance from Vic Carmen Sonne, The Girl with the Needle is harrowing and heartbreaking, especially with how it still remains relevant to our time.

A big part of Strange Darling’s charm is its ability to surprise you with one twist after another, so it’s best not to get into too many details here. What we will say is that director J.T. Mollner and his cast execute those twists with great finesse, making sure not to waste even a second of your time. The non-linear approach might seem gimmicky at first, but once Mollner presents all the pieces of the puzzle, it ends up feeling like a satisfying payoff. Even if you manage to guess where the film is headed, it still makes for an entertaining watch. Willa Fitzgerald is especially captivating.

Shot for only 20 days with a budget of a million dollars, The Last Stop in Yuma County is a small film, but it achieves significant feats, thanks in large part to first-time feature director Francis Galluppi’s strong vision. The set is stylish, the characters feel lived in, and the central mystery—will these robbers get away with it?—feels so taut and tense that it’s enough to fuel the entire film’s energy. There’s no need to look for backstories, motivations, or subplots; just waiting to see whether the finger will let go of the gun’s trigger, or if anyone will catch the hostage’s silent plea for help, is absorbing enough.

With phone scams becoming more elaborate, it’s easy to understand and empathize with the wrath Jason Statham as The Beekeeper has when his elderly friend gets drained out of her entire life savings. It’s thrilling to see him punch his way into the scammers’ headquarters and burn the whole place to the ground. And when director David Ayer uses his extra hour to dial up the low stakes tech scheme into a nationwide scandal that implicates the entire U.S. government, it’s ludicrous, sure, but it’s somehow wildly entertaining. That being said, your mileage of the film highly depends on your tolerance for randomly dropped bee facts and silly bee puns, but The Beekeeper isn’t a terrible choice to watch.

For the longest time, land was where people formed strength in community, where people were born, lived, died, and was buried in, but it was also how empires grew in power, often at the expense of the people that came before. Exhuma is centered in a haunted burial site of a Korean family that migrated due to the war, but as the shamans try to unearth the casket, they also uncover the psychospiritual ways in which Japan colonized Korea– haunting the land with their own ghosts, dividing its people through belief, and leaving deep scars that hasn’t yet been fully recovered from. While the double exorcism situation can be a tad confusing, Exhuma nonetheless elevates this folk horror drama with their respect and attention to detail for Korean shamanism.

Sometimes, especially when you’ve gone without it for so long, you would do anything for a shred of respect. LaRoy, Texas depicts exactly that, with a store owner Ray being so unwilling to stand up for himself that his wife cheats on him with his brother, who steals from the family business. It’s a terrible situation to be in, of course, but it’s played out in a dry, comedic way, as detective-wannabe Skip pokes on the wound when trying his best to solve the case, and as each surprise reveals how terribly incompetent the small town deals with things. While it doesn’t quite compare to the neo-Westerns of Coen brothers it’s inspired by, LaRoy, Texas is both fun and tragic, and a promising debut for writer-director Shane Atkinson.

If you’re craving for the fast-paced fights, hand-to-hand combat, and insane stunts of Hong Kong action cinema, you might enjoy Twilight of the Warriors: Walled In. This novel adaptation has a gangster storyline we’ve seen before, but the action? Impeccable. The action sequences are unrelenting with its underground fighter protagonist stumbling into a convoluted web of alliances and enemies, so every moment feels thrilling, even during the quieter moments. The choreography is flashy, the stunts are great, and it’s all performed by some of the best action stars across generations. Admittedly, the occasional CGI can be a bit distracting. Still, Twilight of the Warriors: Walled In is a welcome throwback to Hong Kong action flicks.

After years of relatively tame, tearjerking LGBTQ+ dramas, finally comes a sexy, erotic thriller made for and by sapphic women that pushes past convention. Love Lies Bleeding is an unexpected sophomore film from British director Rose Glass, not just because it’s set in New Mexico, but because of the 80s B-movie vibe literally on steroids that seems drastically different from her debut film Saint Maud. But both have the altered, surreal moments that blur the line between real and imagined, this time with a desperate edge of star-crossed lovers and the rage fuelled by familial trauma, jealousy, and overdosing on steroids. Kristen Stewart and new leading lady Katy O’Brian are delightful to watch with their immediate chemistry.

The Order is set in the 1980s, but it may as well have taken place in the present; the terror of white supremacists and the desire to storm the Capitol are eerily relevant. However, as political as The Order is, it works better as a cop drama. Director Justin Kurzel has the thrill of the chase down to a pat. As FBI Agent Terry Husk, Jude Law is equal parts talented and tormented (as any good onscreen detective seems to be). And matching his tense energy is Nicholas Hoult, who plays a neo-Nazi terrorist set to overthrow the government. His character could’ve been oversized or cartoonish in less deft hands, but Hoult plays his role with just the exact amount of evil charm to make him a believable cult leader.

Set in New York, Relay follows Ash (Riz Ahmed), a fixer who intermediates between big companies with dangerous secrets and the whistleblowers threatening to bring them down—all for a hefty sum, of course. Sarah (Lily James), a scientist in possession of incriminating evidence, employs his help, but things get complicated when Ash invests more attention than usual in his latest client. Directed by David Mackenzie (Hell or High Water), Relay is a gripping paranoid thriller reminiscent of classic films like The Conversation and critically acclaimed shows like The Robot. In both scenarios, we follow hackers with a heart of gold, sort of, through the beautifully constructed and impeccably detailed lens of the camera. Compared to bigger-budgeted thrillers, Relay may seem more understated and lowkey, but it features great performances, shocking thrillers, and even surprises up its sleeves. It’s one of the better films of its kind to come out this year.

At first, Marmalade just seemed like a good ol’ fashioned Bonnie and Clyde story being told by one inmate to another. As Baron tells Otis about his titular Bonnie in Joe Keery’s Southern drawl, there’s a charming bittersweet romance about a man pushed into crime because of healthcare costs and a compelling Camila Marrone as a manic pixie dream girl-flavored femme fatale. By its own, it’s already an intriguing twist to the film noir plot. But the second half turns this romance into something completely unexpected, pulling an insane set of interconnected plot twists that’s just fun to experience. There are certain moments that could have been tighter, but the performances were great, the images were stunning, and the plot was surprising. It’s such a daring move for first time writer-director Keir O’Donnell.

Given the country’s divisive politics, a second civil war seems plausible, inevitable even. But even though Civil War, the film, takes place in this kind of world, its main focus is on the four journalists who race through the country to get the scoop on a fascist president who’s bound to be ousted anytime soon. We only get hints at the specific causes and developments of the war, but what we do get is an unsettlingly close look at the human toll of it, as well as the realities of reportage—crushing PTSD, ethical responsibilities, and all. It’s a brilliant movie if you set your expectations right.

Often deemed as South Asian John Wick, Monkey Man, of course, has plenty of the stylish action that’s been captivating today’s filmmakers and audiences alike. Dev Patel, now writing and directing alongside leading the film, created a crazy combination of action sequences that mess around with perspective, that’s fuelled by insane choreography, and that take the best from the action thriller greats, but it also mixes in such unique ways, with his one man crusade expanding into an unforgettable folklore-inspired counter campaign against a corrupt, nationalist administration. It’s not a perfect film, but Monkey Man is such a bold debut that marks Patel as a director to watch.

On September 5, 1972, at the Summer Olympics in Munich, Germany, Palestinian terrorists held members of the Israeli Olympic team hostage in exchange for imprisoned countrymen. The ABC Sports team, led by Roone Arledge (Peter Sarsgaard) and Geoffrey Mason (John Magaro), despite their lack of preparation, decided to fully pivot from covering sports to news. The coverage itself was historic—it was the first time a terrorist attack had been broadcast live—and so the film follows the producers, crewmen, and journalists’ efforts in relaying the news. It’s taut, thrilling, and impressively technical. We get to see the ingenuity of the team, the ethical dilemma behind their journalistic choices, and the real consequences of those choices. Like last year’s Civil War, September 5 highlights that uneasy feeling that arises from chasing the story no matter what which, like it or not, effectively dehumanizes conflict and people into mere ratings and numbers. The mistake September 5 makes, however, is that insists on being apolitical even though that avoidance is itself a statement. There are points in the film where, despite loudly declaring they’re only here to cover the news, the characters contradict themselves by favoring one side over the other (this being a big studio film, I suppose you can already tell which side that is). It could use a bit more courage and nuance, but as it stands, September 5, along with films like Civil War, She Said, and Spotlight, is a worthy journalism procedural.

Heretic starts slow and talky, veering into philosophical territory as Hugh Grant’s creepy Mr. Reed drills Sisters Barnes (Sophie Thatcher) and Paxton (Chloe East) about faith and religion. But pretty soon, it turns into an utterly gripping escape thriller and supernatural mystery. Some things about the movie will frustrate you, and even more will have you questioning life itself. But there’s no doubt Heretic will keep you on the edge of your seat, maybe even with one of your eyes half closed.

Besides the futuristic tech that pops in and out, there’s not a lot about The Kitchen that signals it as a sci-fi film. Neglected housing projects and violent raids have become too common to count as dystopian, so it often feels like The Kitchen could’ve gone without labeling itself as part of the genre (the real world is bad enough). But underneath those layers is a subtle but sublimely tender story about father and son finding each other amid the rubble of real life. First-time directors Daniel Kaluuya (Get Out, The Black Panther) and Kibwe Tavares delicately balance the personal and the political, never undermining the former as many socially aware films do. If Kaluuya and Tavares had fleshed the world it built a little more and removed the parts, such as the sci-fi elements, that did not work out, then Izi and Benji’s story would have been memorably devastating, instead of just affecting.

In The Killer, Director John Woo resurrects his famous 1989 film of the same name but swaps neon-lit Hong Kong for sumptuous Paris, and steel-faced Ah-jong (Chow Yun-fat) for banter-prone Zee (Nathalie Emmanuel). The result is less than stellar, but enjoyable nonetheless. The script feels contrived in some instances (“Never send a man to do a woman’s job!”) but electric in others. The latter is noticeable during Zee’s flirtatious scenes with Detective Say (Omar Sy), the most charismatic character in the film. Together, both exude a Mr. and Mrs. Smith sort of charm, where they’re both palpably in love with each other despite being clear enemies. “Will they or won’t they end up/kill each other?” is a strong (and sexy!) driver of plot; too bad it’s not the main focus of the film, weighed down as it is by its uneven flourishes.

You don’t come into a Tyler Perry movie expecting to be dazzled, but you do expect to be entertained. Mea Culpa evokes neither of those feelings, at least not in the first half of the film. Between the predictable plot and Rhodes’ bewilderingly flat performance, it’s a mighty challenge to stay awake. Rhodes is, of course, the lead in the award-winning film Moonlight, where he gave a soulful and lived-in performance. So it doesn’t make sense why, in Mea Culpa, despite playing a perennially horny man, he’s as exciting to watch as paint dry. We’re supposed to believe that his charisma (or lack thereof) seduces Rowland’s character, but there’s no chemistry to be found. For her part, Rowland is a delight to watch. The many turns she experiences fit her range, and she is effectively the heart of the film. Mea Culpa, to be fair, revs up and gets thrilling by the second half, when the chips start to fall and the twists unfold. But it’s too little too late, and they barely shock you at that point, that is if you’re still awake.

Horror doesn’t have the best track record with homosexuality, as anything considered as the other are often alluded to in making its monsters, but in Ganymede, the script is flipped– Lee’s love for Kyle is portrayed in the most peaceful and calming of ways, while the harshly spat homophobic beliefs Lee’s dad beats into his family manifests into grotesque demons. It’s a novel idea, one that smartly suggests that forcing yourself in the closet forms a hell of one’s own making, but the way the film is executed gives Ganymede an uneven tone, especially since co-directors Colby Holt and Sam Probst don’t seem to know what to do with the film’s horror elements.

If there’s one thing that Bosco does that’s really worth admiring, it’s that it works around its lower budget much for effectively than many other films its size. It would be easy to make a prison drama—set mostly between bare walls and corridors—look cheap, but this one clearly puts in the effort to communicate how its protagonist views his claustrophobic surroundings, instead of just aiming for bland realism. That said, the story Bosco tells unfortunately doesn’t display the same tightness and elegance. The film tries to articulate itself in a more poetic way but it just ends up being too clean, too measured versus the reality of prison life. And whichever supporting characters pop up are far too underdeveloped to complete the world being presented to us.