If John Cassavetes had directed a jazz musical by Jacques Demy, it might have looked something like this.

A horror-movie attic sale is, in essence, exactly what Cabin in the Woods is, an attempt to exorcise the genre of its formulaic possession by stuffing the movie full of its most overused and predictable elements - and then dumping them through clever skewering.

Boyega is absolutely riveting, leading with a stern glower, and constantly trying to prove himself. Yet Moses has a deep well of tenderness and honor beneath the façade, and Boyega almost single-handedly makes you care not just about his character, but about everyone in any gang that would align itself with him. He's that magnetic.

In a story built on ugly secrets and lifetimes of terrible events, small moments of beauty and redemption sneak through - proving that sometimes utilizing those bitter remnants of charred memories can prove more fruitful than Earl Gray thought.

Resolution is really a less self-conscious cousin to last year's "Cabin in the Woods"; both are hugely satisfying exercises in examining the way in which stories are told. Cabin succeeded by deconstructing horror without ever intending to be scary itself. Resolution takes the opposite path: When Benson and Moorhead voyeuristically suggest that someone or something is watching Mike and Chris, the chilling effect is marrow-deep.

Strickland's Berberian Sound Studio is one horror film that opts to skip the usual frolic among those metaphorical monsters in favor of a deeply unsettling dive into the subconscious.

Anderson has the ability to control our emotions just as expertly as his camera.

The truth may not be quite that simple, but Kapadia's slightly ecstatic version of it makes for gripping viewing.

Mickle and co-writer Nick Damici gutted Grau's story to the bone. And they not only built something entirely new on that skeleton — they managed to equal and in many ways surpass the dark, bloody beauty of their source material.

The director wants him to engage his "audience," but Rebney -- as misanthropic as one would expect of a man who lives alone in a remote rural cabin -- only wants to talk about politics.

Soderbergh imposes a shape until the film begins to feel less like puzzle pieces in search of their place and more like one seamless picture: It's almost as if, with this collage of the artist's past work, he's created an entirely new final monologue for Gray.

This is a film built around its star, just as surely as any of its cheesier '80s forebears.

Promoting understanding and appreciation of the beauty of the bees and our intertwined relationship with them is also presented as a vital part of the equation.

This Lincoln isn't an abstracted, infallible ideal, but rather a deeply conflicted, often lonely leader simply trying to do the right thing - even if that means few wrong things along on the way.

A hilarious meta-comedy in which Karpovsky, playing a version of himself, goes on a roadshow tour for a movie he's directed.

Moors' film is at its best when it worries at notions of how evil is born, fostered and brought to bloom.

(Marsh) downplays political questions of ideological rights and wrongs. Rather than making a film about terrorism, or about war, Marsh looks at how they affect the people caught up in their machinery.

In one of the film's most fascinating moments, Klosterman asks Murphy what his biggest failure was. After uncomfortably dodging the question at first, Murphy admits that the only thing he thinks he might regret is quitting.

The film plays by genre rules - explicit gore included - even as it turns them on their severed head.

Stylistically unremarkable, playing it safe with structure, the film is still quietly revelatory.

This film exists purely to dazzle and thrill, and by that measure, it delivers expertly, never lagging despite a lengthy 133-minute running time.

What sets Dupieux's film apart is its unexpected secondary dimension: an absurdist meta-commentary on cinema itself that hilariously articulates the notion that the movies stop existing the moment we stop watching, like the sound of an unobserved tree falling in the forest.

Both Jeff and the film have a way of sneaking up on you.

Wain's brand of humor thrives on stepping over the line - and then sprinting a few hundred yards past it.

Like zombie auteur George Romero at his best, Grau locks his sights on his social commentary of choice and goes after it with the zeal of a 19-year-old cannibal girl sinking an ax into the skull of her next meal. The result is messy, but it makes more than a meal.

Barely a moment goes by without a well-orchestrated joke (or three), and it's paced as briskly as a clipper in front of a stiff tailwind.

Director Guillermo del Toro knows that the charm in the clash of scale - or armor-plated titans isn't necessarily tied to the low budgets and laughable production design of those guilty-pleasure TV shows. And with Pacific Rim, he cracks the code.

A film in which everyone is lusting after the wrong person, and consummating those desires tends to lead to awkward - but not funny, unlike Dunham's usual projects - disasters of various scales.