Alex Saveliev

You may think you know what to expect from Nebbou’s gem, but as it unfolds, the tragic, hilarious, deeply cynical, and oddly uplifting film proves to be as multidimensional and expectations-defying as its formidable protagonist.

It’s a reminder of human resilience that manages to be both powerful and deeply flawed.

Garland is a master at ratcheting tension to an almost unbearable degree, and he flexes that muscle hard in Men. The way he gradually presses the acceleration pedal, allowing the narrative to gather momentum until it almost implodes in its final third, is really quite remarkable.

The film is buoyed by Charlize Theron’s fierceness and a few shining moments of true inspiration. Roll with the inherent silliness of it all, and you may just have a good time.

Bolstered by two formidable leads, the film is bound to resonate with anyone who has tried to make a fresh start, rediscover themselves, but also maintain a grasp on the past that keeps slipping away.

Kitarô Kôsaka’s light-hearted and contagiously joyful film contains just enough beautiful imagery, positive messages of acceptance and touching moments to warrant a look.

A warm hug of a film, The Outside Story may occasionally stumble and resemble an extended TV pilot, but – largely thanks to its charming protagonist – is bound to (however briefly) reaffirm your faith in humanity.

Morris utilizes psychedelic neon colors, bold titles, and a hallucinatory score to emphasize the craziness of her life. He has devilish fun piecing together Joanna’s fractured past. It just feels like, in his search for Truth, he’s lost his way a little this time.

With a little more filmmaking flair, or drive, or a fresh perspective, East of the Mountains could’ve been a real gem. Instead, it’s a decent little character study about a man facing death, worth a look for the magnificent central performance alone.

We’ve seen it all before: the obsessive cop with emotional baggage, the small-town folk being interrogated, the lovey-dovey subplot, the tonal dreariness. The filmmaker isn’t aiming to avoid tropes, and what the film does, it does splendidly, though an injection of humor would have certainly been welcome.

It’s all deeply unsettling, a glorious massacre you can’t look away from. Kill It and Leave This Town dares you to avert its gaze. You may not be able to describe it, but good luck forgetting it.

Kai Luke Brummer is a revelation in the central role, his introverted performance buoying the plot with nuance and charisma. We navigate through the horrors right alongside him, and we root for him, and in the end, despite a striking and sad realization, we gaze at the ocean and wonder if there’s hope for humanity yet.

Higashide effortlessly switches between the two polar-opposite men, both utterly convincing.

When morals and ethics become muddled, when right becomes indistinguishable from wrong, when there is nowhere to run, and the world closes in on you, what options do you have left? Though Abu-Assad’s equally muddled Huda’s Salon poses more questions than answers, they are compelling enough to warrant a recommendation.

Although Penn is the focal point of Citizen Penn, the real citizens of this story are the Haitians. They are resilient, optimistic, and refuse to be labeled as victims. I do wish that we got to meet some of them a bit more intimately, that Hardy delved a little deeper into Haiti’s sociopolitical history. As it stands, it functions as a perfectly serviceable call to action, an extended, heartfelt PSA that neither glamorizes nor demonizes the actor.

Gerbase studies how loneliness brings out the worst, and sometimes the best, in us. She examines how some of us are more adaptable than others; how we are the products of our environment, creatures of habit. The film can also be viewed as a parable about autocracy, ruthlessly dissecting the abide-or-die mentality. Whatever you take from it, the drama is bound to hover over you for days.

Almost every scene impresses, has something to say. How refreshing is that? It’s been a while since a major studio production entertained and enlightened to such a degree, with nary a wrong step, for over two hours. If you can stomach the violence, you’re in for a hell of a ride. Here’s to the Western revival. I’m all about Jeymes Samuel leading this gang.

It’s a feast for the eye and for the mind, done in a nonchalant way that would make the most seasoned filmmakers jealous.

Papers Spiders is everything you want out of a teen drama, more Lady Bird than The Fault in Our Stars. That’s not to say fans of the latter won’t respond to Shampanier’s genuine gem. Don’t let this one slip under the radar.

Fortune Favors Lady Nikuko explores what it’s like to be in the shadow of your parent, the lessons imparted by our elders, the value of a support system among women, the power of literature, the appreciation of food (frequently referred to as “yummy”), and the importance of staying true to yourself. Eat that, Pixar.

No stranger to eliciting powerful performances from his entire cast, Ozon does it again here, with nary a foot stepped wrong.

At barely over an hour, Deerskin packs quite a punch, and is bound to get under your skin.

This is pure cinematic meditation, requiring a surrender to its languid tempo and hallucinatory vibes.

Few seasoned filmmakers can boast the lightness of touch, the comedic timing, and proficiency with an ensemble cast that the 21-year-old Lindon so nonchalantly possesses. The film would’ve been a treat if it were made by an established auteur; the fact that a complete newcomer concocted the entire thing makes it even more impressive.

Eastwood once again takes a sharp stab at America’s penchant for attacking first, asking questions later.

Fabian: Going to the Dogs is poetic, ugly, romantic, tragic, and side-splitting. Some sequences approach the edge of sanity, take a glimpse into the abyss, then the plot reassembles itself – but the threat of derailing remains, and it’s quite exhilarating.

Scodelario carries the film with an energetic, no-holds-barred performance. She’s in almost every shot, planning out escapes and outwitting the reptiles, and she gives it her all.

The individual sequences, along with the confidence with which the two lead actors navigate the sometimes-turbulent currents, elevate the film into the realm of art. After all, sometimes it’s okay for the whole to be less than the sum of its parts.