Have your Lasso of Truth at the ready: Gal Gadot’s headlining turn as Wonder Woman is just weeks away now, with Patty Jenkins at the helm (have you seen her powerful debut feature Monster?). Watch the full Wonder Woman trailer and make sure you know which Chris is in the film.

Some blockbusters win, some bomb. Guy Ritchie’s latest, King Arthur: Legend of the Sword has had a disastrous opening and a mixed bag of reviews. “This whole film is one giant f**king montage,” says Austin Gorski, while Tasha Robinson asks “Who did your decor, bro?”. Not everybody hates it: “Sure, it’s objectively terrible,” writes Ben Scanga, but “if you like sh*tty movies as much as I do then go see it!”

Idris Elba is the last living Gunslinger in the long-awaited adaptation of Stephen King’s novel series The Dark Tower. Matthew McConaughey plays his nemesis, evil sorcerer The Man in Black. Nikolaj Arcel directs.

Seems filmmakers aren’t bored of Winston Churchill as a character yet, and why would they be? The dialog writes itself when you’re putting the world’s most quotable politician on screen. Brilliant Scotsman Brian Cox plays the title role in Churchill, a feature coming hot on the heels of John Lithgow’s arresting version of the late UK Prime Minister in Netflix money-spinner The Crown.

I wish I’d taken the title’s advice before I walked into this screening… The dialogue was cringe-worthy, the comedy was unfunny, the story was utter nonsense, performances were weak (especially Daniel Kaluuya) and there were constant cheap tricks used throughout in an attempt to scare but conclusively had no substance—the running scene in the garden a prime example of this. A predictable, forced and timely cash-grab that pretends to be tongue-in-cheek. —ferrisay

Horror films can be fun, entertaining, chilling and scary. But what I love most about horror films is that they can talk about social and political issues without patronizing the audience: it happened with racism in 1968’s Night of the Living Dead, [the] AIDS epidemic in 1982’s The Thing, consumerism and subliminal messages in They Live, and more recently depression and grief in The Babadook. Even though it might be too early, I feel confident in saying that Get Out is one of the smartest and most socially relevant horror movies of the decade. I was riveted throughout the entire runtime, with multiple twists and revelations that make sense in the greater scheme of the story. The tension is brilliantly constructed, with a growing sense of dread and fear that I rarely experienced in a modern horror movie. —Nicolò Grasso

Barely remembered this from my sole previous viewing, and now I can’t comprehend how I maintained a relatively low opinion of Oliver Reed over the past 20 years… His (uh) smoldering performance grounds a film that sometimes errs on the side of gratuitously ‘shocking’ imagery; The Devils is strongest at its most contained/controlled, deriving queasy horror just from e.g. the way Redgrave keeps her head permanently tilted to her left shoulder. Loved the first half without reservation, was only slightly disappointed when the home stretch turns into a less anguished (emotionally, if not physically) variation on The Crucible. Possibly Russell’s most confident walk across his standard tightrope stretched over the abyss of high camp, though Savage Messiah, a personal favorite, is another one that I haven’t seen since the Reagan administration. —Mike D’Angelo

A slow and beautiful burn. Alien is a movie for designers. H.R. Giger’s bleak and organic art style translates to a very realistic and beautiful spaceship. It’s clear that the ship is going to be a character from the get-go, and it’s always interesting seeing them explore the different parts of the Nostromo. Ridley Scott only teases the alien in this movie. It looks best in close-ups, flashing lights, and quick cuts. The slime on its head and mouth creates a realistic and organic creature that is terrifying. I always forget how long it takes to even find the facehugger alien. The opening is too long, but it reinforces the slow and controlled burn of this movie. Always fun to watch. —Blaine McGaffigan

Back in 1988, John C. McGinley’s intense smile was young, the Towers stood proud, NYC was romantically dirty and Sam Elliott wasn’t a f**king redneck in everything. Yeah, it’s sleazy as sh*t and that’s what makes it terrific. Before CG ruined everything, you had to blow cop cars up in the homeless dens the old fashioned away. I’m surprised I hadn’t heard about this movie sooner. Cramped spaces with either too much or too little light, doors and staircases literally everywhere, bus drivers who don’t know what the f**k they’re doing, that’s the NYC I remember from the 20th century. —Challah Bread

Some people consult their horoscopes for romantic advice, we consult you. Here’s a guide to how to learn more about your date based on who their crush is in Rogue One: A Star Wars Story.

Shay Hatten has noticed a film poster trend that applies specifically to movies where “emotionally closed-off people have to take care of a bunch of kids and they end up bonding”. A+.

Ranking romantic comedies is a big ask—so many films, so many opinions about them—but Caitlin is game. Here’s her Definitive Rom-Com Ranking.

Keen to get off the blockbuster gravy train and seek out something a bit more left-field from the filmmaking days of yore? Steve has compiled a list of recommended films watched by fewer than 500 members. And check out Arta’s list of hidden gems—films watched by fewer than 3,000 members and rated 5 stars more than any other rating.

You’d think we’d have learned by now the things you definitely shouldn’t do if you’re in a horror movie.