There’s something deeply romantic about stories in which long-buried histories are brought to light. Historical mysteries like The Da Vinci Code or The Name of the Rose are timelessly thrilling because they speak to our desire to uncover some carefully concealed truth. How exciting it is to picture yourself as the one to expose and overcome some kind of ancient plot or mysterious cabal whose existence is dedicated to suppressing a discovery or device that could change the course of the planet.

It always struck me as a bit odd that the characters in ghost stories are always so surprised to encounter ghosts. This isn’t to say that ghosts aren’t inherently scary; if I ever saw one in real life, I would almost certainly faint and/or soil myself. It’s just that a lot of movies about ghosts have characters who are supposed to be experts in the field — mediums, seers, paranormal investigators, busters of evil spirits.

For better or for worse, Zach Cregger’s Resident Evil might come as close as any movie adaptation has ever gotten to capturing what it feels like to play a video game. Fans of the long-running, zombie-shooting franchise might quibble with the details, but there’s little denying that Cregger has nailed not only the excited anticipation that comes with entering a new room full of unseen horrors, but also the joyful sense of accomplishment and dopamine release that comes with escaping that room alive.

It’s hard not to feel a little unmoved by the nonstop parade of entertainment about eating the rich these days. The overall sentiment is easy enough to get on board with; it never stops being infuriating to get constant reminders in the news about how the super wealthy live in a world with a different set of rules than the ones for us regular folk. Still, most of the movies and television shows on the topic aren’t really interested in going very far beyond surface-level satire (or they aren’t allowed to).

Adam Wingard’s Onslaught is one of the loudest movies you’ll see this year. Characters often appear suddenly on frame while engaging in a wince-inducing activity, like revving a motorcycle, starting up a chainsaw or even operating a blender, all while the object’s audio is cranked as high as it can go in the overall mix. Scene transitions are often punctuated with a stupendous blast of sound, musical or otherwise.