With The Lobster and The Killing of a Sacred Deer, director Yorgos Lanthimos has become something of an awards-season/top-ten-list darling, one of those auteurs whose shots are rigorously framed and whose work lacks sentimentality and whose worldview is dark, dismissive of humanity’s humanity.

I’m not sure Creed (95 percent fresh on Rotten Tomatoes; 82 from Metacritic) was quite as good as everyone makes it out to be, but it was certainly better than it had any right to be.

Widows is well cast and perfectly acted, tells a compelling story about how corruption aids outright criminality without being overly didactic about it, and is directed with a firmness one might expect from an Oscar-winning director whose command of visual storytelling verges on the total. If it weren’t for the fact that there’s one twist too many, it would be a nearly perfect movie.

There are two shots in The Front Runner—one complicated, one less so—that drive home the film’s visual language and thematic content.

It feels as though director Luca Guadagnino looked at the original Suspiria, decided it made too little use of its setting (a ballet academy), and said to himself “What if the original had fewer trashy kills, less provocative and expressionistic lighting set ups, a duller soundtrack, and way, way more dancing?”