With a franchise that seemed to get old in the tooth after the 2nd go around, writer/director Dan Trachtenberg has brought "Predator" back to the cinematic structure it needs to be but albeit from a different point. "Badlands" has the DNA, edge and balance of an old school "Predator" movie but it is also made and adjusted for the era we live in.

The intention of "Die My Love" from director Lynn Ramsey skirts the idea between reality and the metaphorical nature of being. The film mostly follows Grace played by Jennifer Lawrence. Grace is a wild spirit but like anyone sees the path to settle down with Jackson (Robert Pattinson) but as often in life, things don't go as they should.

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.

The perspective of "Tron" and its lore has changed over the years. The aspect is approach and relevance. And with what is going on with artificial intelligence, it would seem ripe for an updated take. "Tron: Ares" has the advantage of the technology and the story is not too bad but its real world connotation doesn't contain the necessary dread and its leading man is just not the right fit.

The aspect of an 80s tinged horror film is knowing how to balance the style with a lighter sense of terror while still maintaining a sense of dread. "Night Of The Reaper" works well because it understands its working expectations and then switches it without trying to be overly clever...but yet becomes that because it is less assuming than others.

There is something beautiful in "A Big Bold Beautiful Journey". It is an experiment but reminds one what films used to look like. The film is about hope and love and yet is peppered with the messy stuff that goes along with it. Kogonada, who directed Colin Farrell in the independent "After Wang" returns here with a similar concept film but adjusts it more to mainstream.

Some capers or farces have a certain uniqueness or almost blind coolness to them. "Borderline" has a lot of right ingredients but sometimes goes a bit off reservation. Headlined by Ray Nicholson as an obsessive fan with style and Samara Weaving as the object of his focus, it could have been something really really dark. Produced by Margo Robbie and directed by Samara Weaving's husband Jimmy Warren, it is an interesting family affair with a comic tone.

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.