The new imagining of "The Hand That Rocks The Cradle" is built upon a much different killer construct but is more apt with the current climate in how it presents its characters and how it plays. The original created a different psychological intent while the new version uses both concepts of sexuality and jealousy while also keeping a certain angle of the original intact.

After the texture of "Endurance" and before that "Free Solo", the filmmakers behind these stories always say they search for unusual and stories that need to be told. Their latest "Lost In The Jungle" made alongside Juan Camilo Cruz tells the story of a group of siblings who after crashing in a plane are lost in the jungle for nearly 40 days. It is an interesting story but is almost an unusual subject for the pair.

The aspect of a good heist film can work if there is stakes. Energy and chemistry says a lot but sometimes that idea can overtake the narrative (depending if it is strong enough). This is the issue with "Eenie Meanie" starring Samara Weaving as the lead Edie, a getaway car driver who is retired but gets pulled back in. The film is a bunch of fun but the one thing it does off-kilter is that it creates consequences for some but none for others.

The revelation of "No One Will Save You" comes in its ability to show both old school paranoia within the context of a creature feature not trying to make an overt statement about the state of the world. It is simply one woman's journey with the world against her in a way though she is simply in a cage of her own circumstance. In that way, the film is undeniable.

The story of the Boston Strangler is a story that is at the fringes of American consciousness but a term still people recognize. Like "She Said" last fall with different focal points, similar pedigree but an underlying similarity, "Boston Strangler", premiering on Hulu, follows two real life women battling against perception, motivation and masculine mansplaining as they pursue the truth.

The structure of the aspect of suffering in an interesting diatribe on the notion of self. The circumstances of living in certain ways create situational structures based on choice. "Hellraiser" as a metaphor is strictly about that but using the essence of body horror and consequence to fuel the fire.

“Prey" in a way strips it down and takes away everything except the Predator itself. And what is its purpose? To hunt. And with its technology and interstellar capability, the creatures have probably been doing it for many millennia. That is actually a great starting point. Have this apex predator hunt in certain eras. "Prey" chooses the Comanche Nation in the early 1700s.

Making an action film that is accessible both to young women and cool enough to appeal to the young male demographic is few and far between. "The Princess" does it admirably while still sticking to its mid-range budget guns and almost despite a high body count keeping it relatively bloodless

"Deep Water" is based on a Patricia High Smith novel. And while it is not Ripley it does have characters who both have secrets but also make decisions for their own reasons. Armas and Affleck play a married couple separated by time, instinct and place in life.