Necrologies (or Obituaries in English) is a French-language horror anthology starring Jean-Claude Dreyfus (Fitzcarraldo, Delicatessen) that offers up five tales of fun-filled horror. Leaning pretty much exclusively into the silly side of terror, Necrologies’ slew of mostly first-time filmmakers create a horror compilation that feels surprisingly cohesive and consistent in what it delivers.

Director Jared Barel and screenwriter Jeff Auer make their feature film debuts with The Incoherents, a rocking ‘n rolling light comedy about midlife crises and reclaiming the past. More tame and predictable than its title suggests, this comeback tale and its journey ultimately isn’t anything we haven’t seen before, but it’s upheld by its 90s swagger and indie spirit.

Alexandra Serio’s short film, Tingle Monsters, seeks to showcase how violence against women truly starts with words. Told through the lens of an ASMR livestream, this short invites viewers to examine the line between the real-world treatment of women and the things men say on the internet.

With The Black Gate, French filmmaking duo Fabrice Martin and Guillaume Beylard attempt to resurrect the supernatural horror of late-70s, early-80s Italian films. While their efforts aren’t entirely unsuccessful, the film’s uneven style, narrative incoherence, and overly digital sheen prevent their love letter from ever coming close to the era they try to recollect.

Sonejuhi Sinha’s stylishly seedy feature film debut, Stray Dolls, is a neon drenched motel noir with a few cards up its sleeve. Recycling familiar genre elements into something that feels wholly inspired and nuanced, Sinha drives her knife deep into the American dream and somehow manages to draw fresh blood, proving she’s a bold and confident new voice worth paying attention to.

Writer/director Jeremy Hersh makes his feature film debut with The Surrogate, a complex and provocative drama that explores the harsh reality of moral dilemmas. With a focus on the difficult questions that all potential parents face, the film finds a universal foothold to probe into the various points of view and conversations (and emotions) these questions stir up.

Eight long years after their debut feature, Deadheads, writer/directors Ben and Drew Pierce (better known as the Pierce Brothers) have returned with The Wretched. This 80s-infused horror film could almost be the next Fright Night, but it drops the ball by favoring neat visuals over a coherent story. One thing’s for sure, the effects are certainly something special.

Filmmaking duo Mike Ahern and Enda Loughman make their feature film debut with Extra Ordinary, a horror/rom-com hybrid loaded with laughs and Irish charm. Finding the perfect blend between wholesome and irreverence, Extra Ordinary delivers a quick-paced tale of ghostbusing and lonely hearts that’s consistently funny and delightfully kooky.

What do sleepwalking, vegans with meat fascinations, and relationship jealousy over dying dogs have in common? They’re all elements of Caleb Michael Johnson’s sophomore feature, The Carnivores, a whimsical yet grounded psycho-thriller that functions as a nightmare love story, a missing dog mystery, and a ground beef elegy all rolled into one.

Acclaimed Polish director Małgorzata Szumowska makes her English-language debut with The Other Lamb, a feminist leaning cult-drama with spats of surrealism and violence. Working from a script from Catherine S. McMullen that somehow wound up on The Black List in 2017, the film is breathtakingly photographed but doesn’t crackle with much catharsis or day anything we haven’t already heard before.

Writer/director Leigh Whannell reteams with Jason Blum’s Blumhouse Productions to bring the Universal Monsters’ Invisible Man into the modern era. Unlike 2017’s abysmal The Mummy, Whannell’s take on this Universal classic succeeds at nearly every turn, creating a horror film that’s both palpable and deep. Full of allegory, psychological thrills, and pulse-pounding tension, The Invisible Man is a reimagined reboot done right.