Grieving grandparents (Diane Lane and Kevin Costner) attempt to rescue their grandson and former daughter-in-law from her abusive new husband’s family in Thomas Bezucha’s modern-day Western. The film boasts accurate 1960s period detail and an introspective score by Michael Giacchino. Digital photography adeptly captures western vistas with a sense of awe, while color timing matches the character-driven narrative’s progressively darkening tone. Granted, some viewers may be irked by the inconsistent ways in which gratuitous violence interrupts the laconic pacing. See it for Costner and Lane’s performances, as well as Lesley Manville’s (Phantom Thread) devilish turn as the Weboy clan’s matriarch.

Is there anything creepier than being a fisherman on a New England island? Probably, but I always consider isolated places surrounded by large bodies of water to be horrifying. In The Block Island Sound, Harry is dealing with anger issues and his father's increasingly erratic behavior. What seems like run-of-the-mill alcoholism is something much more than that, and as things fall apart Harry begins to believe that something very sinister is afoot. With a tone similar to Dark Skies, a tense and heavy mood gives this film an unnerving aura. You'll think twice before discounting your local conspiracy theorist again.

Possessor embodies the definition of a mind fuck movie. It thoroughly dismantles preconceived notions about genre and eradicates the boundary between “low” and “high” art. Andrea Riseborough (Mandy) plays an agent who inhabits people’s bodies via brain-implant technology to commit assassinations. However, the longer she stays in a host increases her risk of permanent brain damage. Comparisons to his father’s work is inevitable, particularly eXistenZ, but Brandon Cronenberg’s vision is equally original and assured in execution. The film is layered with meaning and contains visually arresting in-camera practical effects. Not for the squeamish, Possessor is a transgressive work of art.

Road rage becomes revved to the max in this thrill ride about a man who terrorizes a mother and her son. Although plots points are fairly predictable, the story contains a few tense sequences, include a brutal murder at a diner. Caren Pistorius (Slow West) continues to exhibit range in a role that allows for vulnerability and ingenuity. But Russell Crowe is the main draw to see the film. His menacing performance and Ford truck render New Orleans claustrophobic—they always seem to be tailgating your bumper. Unhinged isn’t Duel or Speed, but it’ll keep you entertained for 90 minutes.

It’s a shame Dreamland most likely won’t reach a wider audience. Other critics have unfairly compared it to Bonnie and Clyde, but what Dreamland lacks in narrative cohesion and thrills—save for an intense dust storm sequence—it compensates with its interiorized character study. Lyle Vincent’s (A Girl Walks Home Alone at Night) cinematography, Meredith Lippincott’s production design, and Patrick Higgins’ score perfectly capture Depression-era period detail. Most of all, the film is buoyed by Margot Robbie (who also served as a producer), whose performance as bank robber Allison Wells continues to exhibit her innate ability to inhabit compelling, characters.