A comical triptych about residents in an apartment block district who long for a better life. When a black hole mysteriously appears in a lilac bush, they will have to face aliens, a giant spider, and an Austrian in breeches.

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Veteran smokejumper Jack Elliot fells trees on a steep mountain slope high in the Montana wilderness. He’s one of a five-man crew harvesting beetle-infested pines. It’s a long road from the frenetic lifestyle of a smokejumper, but after losing most of his unit in a runaway backcountry fire, the tranquility of a quiet wood is a welcomed peace. His phone rings. Jack’s estranged ex-wife can’t pick up their teenage daughter from camp in Wyoming. After the fire, Jack lost himself, and consequently lost his family. He hasn’t seen either of them in five years. Hesitant at first, he agrees. When Jack arrives at SkyCamp, it’s not exactly what he was expecting. He pulls in on his ’98 Wide Glide, sleeping bags latched to the back, eating the dust of a black G-Wagon. When Hanna sees her Dad, out in the middle of nowhere, atop a twenty year old Harley, it’s not exactly what she’d had in mind, either. Reluctantly she gets on. Over the next four days, we watch these two strangers battle as they ride across the wild Montana landscape and sleep beneath her bounty of stars. Watching his baby grow into a woman, and seeing her hero shrink to a man, a battle that starts off as face to face, slowly becomes back to back. But the mountains, the passersby, and the small seat of a motorcycle can only do so much to bring them together. The rest is up to them.

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Fleeing her past, a troubled hiker and her dog traverse the Appalachian Trail, only to fall under the spell of a dangerous man. As obsession and visions mount, she’s drawn toward Mile 666, where lust, death, and something ancient await.

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A bright yet reclusive psychic and four techie ghost hunters go to the rural estate of a fashion mogul to investigate the mysterious disappearance of her teen daughter and look into the urban legend of a ghost that kills phone addicts.

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The 171-minute director’s cut restores nearly 24 minutes of additional scenes that were not included in the original cut. This version adds more graphic violence and extends many preexisting scenes. The biggest chunk of new footage added, as director Ari Aster acknowledges, is the subplot of Christian researching for his anthropology thesis.

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Hunted by mercenaries, Brandon Beckett and his legendary father mount an impossible rescue mission.

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A police officer tracks a killer after her husband, a highway patrolman, becomes one of his victims.

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Mi-Young runs a shop at a traditional market, where she makes and sells twisted bread sticks. Her husband Seok-Hwan works as a computer repairman. One day, Seok-Hwan wins a free trip to Hawaii. Mi-Young and Seok-Hwan will go on their first international trip together. When Mi-Young and Seok-Hwan get on the airplane to Hawaii, things don’t go as expected. Terrorists, including Cheol-Seung who chase after a secret agent, get on the same airplane. The passengers soon become hostages. Suddenly, Mi-Young and Seok-Hwan begin to rescue the passengers.

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Benny works for old school crime boss Abe, Abe has multiple personalities and is in a gang war with the notorious Frankie. Kane is the deadliest of Abe’s personalities, the next 24 hours will be a killer. Today is a good day to die.

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A 1939 test pilot asks his best friend to use him as a guinea pig for a cryogenics experiment. Daniel McCormick wants to be frozen for a year so that he doesn’t have to watch his love lying in a coma. The next thing Daniel knows is that he’s been awoken in 1992.

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Rick Rainsford is trapped on a deserted island with his reluctant companion, Anna. While attempting to save another gravely injured survivor they find themselves hunted by Zaroff, a sociopathic ex-KGB Agent long with his partner Ivan. In spite of their differences Rick and Anna must work together to disarm Zaroff’s deadly traps, survive his assistant’s brutal attacks, and escape the island alive.

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Yorgos Lanthimos’s movies love to flirt ‘often comically’ with horror: the fear that behind the façade of society is a gaping maw of existential terror. In this dastardly short, a shrewdly cast Matt Dillon realizes that no role in life is irreplaceable. Suddenly, nothing is safe not even ourselves.

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