The ninth film to (prominently) Alien vs. Predator films), Alien: Romulus is presenting itself as something of a “back to basics” approach to the property. It takes place between the events of Scott’s original film and James Cameron’s equally iconic follow-up Aliens—set more than half a century later—and is led by Cailee Spaeny and directed by Uruguayan filmmaker Fede Álvarez (the 2013 Evil Dead, Don’t Breathe), a specialist in genre films with female protagonists. “Back to basics” is also how they sold the last feature, 2017’s Alien: Covenant, but that film had the secondary task of addressing some arguably extraneous elements introduced in 2012’s ambitious-but-distracted Prometheus. Gigi reckons Romulus “brings the iconic sci-fi-horror franchise back with a fresh vision while staying true to its terrifying roots,” and Phil appreciates the director’s approach to tension-building: “His horror scenes, more or less, are always logical, built on some framework that creates situations that are tense in themselves, without necessarily having to rely on something popping out of the dark to give audiences a scare.” “I’ve witnessed a very needed revival of one of the most iconic sci-fi sagas of all time and I was so on the edge of my seat,” says a stunned Milton. Now in theaters the world over.

Representing the apex of the 1970s’ “p*rno chic” movement (in concept at least), Caligula was positioned upon its 1979 release as the first mainstream movie to feature hardcore sexual content (although that particular footage was reported to have been shot separately from the rest of the production under the auspices of its producer, Penthouse magazine magnate Bob Guccione). Chronicling the rise and fall of the infamously decadent, er… titular Roman emperor (Malcolm McDowell), the final cut of the film was decried by director Tinto Brass and screenwriter Gore Vidal, and it’s been viewed as a giant debacle ever since. If a movie ever had an argument for a “restored” cut, it’s this one, and Caligula: The Ultimate Cut purports to align as closely as possible with Vidal’s original script, utilizing reams of recently recovered footage and new animation from graphic artist Dave McKean (known for his Sandman comic-book covers) to replace missing scenes. Apparently, not a single second of footage here is from the original release, making this something of a cinematic Ship of Theseus. “Hypnotic, languorous nothingness,” says Rocco in his (five-star) review. Glenn mourns the filth of the original: “What the film loses in greasy, sleazy vulgarity, this ‘ultimate’ cut gains in surprising gravitas and self-serious epic posturing.” Now in select US theaters.

Elliot Page co-writes and stars in the partially improvised Close to You, an intimate drama about a trans man returning to his hometown after a long time away and reckoning with the people from his past. The feature premiered at TIFF last year to wide acclaim, most of it centered on Page’s powerhouse presence in what is clearly a very personal film for the actor. Jaime says it’s “maybe the most that Elliot Page has really been able to show himself on the screen” through what Joe calls a “breathtaking performance.” “Page is remarkable,” lauds Lambotron. “His eyes are so striking and hold so much in them.” Dallon reckons the “authentically trans story” is “a lovely way to summarize a trans experience (note: a, not the).” “Very difficult for a film to make me feel both such cringe and such joy,” notes Stella. “I can’t recommend it enough.” Now in select US theaters. In select UK and Canada theaters August 23.

Adapted from James O’Barr’s indie comic book about a vengeance-seeking specter, 1994’s The Crow presaged the Marvel era with its stylized superheroics and comic-replicating visuals—albeit soaked in gothic aesthetics that were fashionable at the time. I think. The advance snickering generated by a new reboot (there were three increasingly crummy sequels to the original, which is also ed for the tragic accidental death of lead actor Brandon Lee during filming) suggests that such emo-leanings are less fashionable in the Year of Our Lord 2024. Bill Skarsgård, FKA Twigs and Danny Huston lead the new effort for director Rupert Sanders (the live-action Ghost in the Shell). In theaters in most territories August 23.

With a delightful trailer that evokes Infinity Pool, Very Bad Things and I Still Know What You Did Last Summer in equal measure, Zoë Kravitz appears to be having a lot of fun with her directorial debut Blink Twice, co-written with someone possessing the very writerly name of E.T. Feigenbaum. Kravitz does not appear in the film, but a whole heap of equally exciting actors do, including Naomi Ackie (I Wanna Dance with Somebody) as a cocktail waitress who accepts an invitation from a tech billionaire played by Channing Tatum (She’s the Man). The invitation is to the billionaire’s private island for a party with fellow attendees Adria Arjona (Hit Man), Simon Rex (Red Rocket), Christian Slater (Nymphomaniac Vol. II), Kyle MacLachlan (Showgirls) and Geena Davis (The Long Kiss Goodnight). I could not be more on board. In theaters the world over August 23.

Jason Schwartzman, whose presence in Cited by Letterboxd managing editor Mitchell Beaupre as being amongst the best of this year’s Sundance Film Festival, the film is getting a lot of love from our . “Confirms my belief that middle-aged Schwartzman is gonna be the best Schwartzman,” says Brian. FJ reckons co-writer and director “Nathan Silver’s visual style elevates what would have been standard indie-romance-comedy.” Stebo calls it “a droll indulgence in the human capacity of speech, rhetoric, gossip and, above all, interpersonal communication amidst a backdrop of grief.” In theaters in the US, UK and Ireland August 23.

Víctor Erice, a towering figure in Spanish cinema thanks to 1973’s The Spirit of the Beehive and 1983’s El Sur, got a rapturous reaction to his first scripted feature in 40 years. Close Your Eyes (currently sitting on a hefty 4.0 average rating) premiered at Cannes last year, subsequently played at TIFF and is screening in Los Angeles and New York before hitting VOD. Like the two films mentioned above, this new one concerns cinema itself, centering around the potential re-emergence of a famous Spanish actor who disappeared during a movie shoot two decades earlier. “One of those rare films that finds the cosmos without seeking it,” raves Neil. Felipe calls it “a movie suspended in time about a lifetime of thinking, making and watching other images. It aims very high and sustains itself with so much force.” “It’s very clearly a cinephile’s film,” Diogo says, “where the fear of forgetting is sublimated by the posture of accepting the future with neither hope nor fear.” Screening in NY and LA from August 23.

Although hardcore Hong Kong-heads were already familiar with his balletic stylings, John Woo’s 1989 outing The Killer was the first of his films to really turn heads in English-speaking regions, and was a key step in his ascension to action-cinema-god status. He subsequently made a few more movies in Hong Kong, then, after 1992’s Hard Boiled, moved to Hollywood for a period. His fortunes have risen and fallen since, and after several years making epics back in Asia he was positioned for something of a Hollywood comeback with last year’s Silent Night. That didn’t really take, and now he has remade The Killer with Nathalie Emmanuel taking over for Chow Yun-fat in the role of an assassin for hire who faces dire consequences after growing a conscience. Like parts of David Fincher’s The Killer from last year, this takes place in Paris, so we have French actors Omar Sy, Tchéky Karyo, Saïd Taghmaoui and, um… Éric Cantona, in ing roles. On Peacock from August 23.