Beandrea July

Ultimately The Only Living Pickpocket in New York shows us that old school and new school aren’t opposites. Like the city’s many seeming contradictions, they are meant to coexist.

BLKNWS: Terms & Conditions is a rich visual assemblage born from an uncompromising artistic vision and collectively rendered praxis. One senses that it breaks typical forms, not to be contrarian, but to revel in its authentic self.

An immersive, deeply empathetic look at what it means for first-generation Americans like Doris and Jacks to reclaim the right to pursue unpredictable dreams.

A work that possesses both the whimsy and fearlessness of a student project and the technical vibrancy of a veteran’s opus.

Ultimately, Farewell Amor is a heartening meditation on the meaning of home not just for one African immigrant family, but for all of mankind.

Overall, On the Record is a stunning feat of complexity that’s both contained and expansive.

In Unidentified, women are good, women are bad, and women are everything in between. In a society where a woman’s death can easily go unnoticed, this film makes sure the audience pays attention.

The 40-Year-Old Version is a beautiful achievement, one that ultimately calls attention to the huge gaps in representation of different kinds of black characters on film. It’s a gap that Blank clearly intends to fill; I can’t wait to see what she does next.

Quietly confident in its unconventional yet clear point of view, Selah and the Spades signals a bright future for a promising young filmmaker.

As we witness both the documentary’s subjects — and its director — navigate a shocking development in real time, a quietly probing film emerges that pierces the myth of American meritocracy.

With a tightly structured script and Nanjiani and Rae’s raucous yet down-to-earth performances, The Lovebirds makes for a delightful and unexpected ride.

The director, Michael Morris, knows from the start what movie he’s making: one that robs us of our easy assumptions about who Leslie is. She’s unbearably flawed, and the screenwriter Ryan Binaco explains why without forcing long beats of exposition upon the viewer.

Banks brings Charlie’s Angels into the modern age with flair, all while unapologetically raising a feminist flag, championing female friendships and subtly making a point about the urgency of the ongoing climate crisis.

Aftershock is a moving ode to Black families in a society where too many forces work to tear them apart.

It’s the pairing of Bellingcat’s story of citizen journalism with the larger story of the state of media and its relationship to democracy that makes this documentary stand out. It’s frankly a relief to hear someone explain how we got here, how the culture of “fake news” came to rule the day, and then provide a clear example of how one group of people is standing up against it.

This time around, the director Harry Bradbeer and the screenwriter Jack Thorne forgo prolonged dialogue when Enola breaks the fourth wall, making more room for Brown’s intense looks and physical gestures to resonate.

Quiet yet assertive, Try Harder! itself succeeds at not trying too hard.

The film's stylistic approach places an unmistakable and compelling veil of empathy around Magdalena, Miguel and the migrant workers just trying to survive amid violence, economic desperation and political strife.

In today’s saturated media environment, it’s heartening to be reminded that exposure to theater can be a lifeline for the kids who need it most. Giving Voice is the best kind of "feel-good" doc: one that organically moves you in a way you didn’t see coming.

An agonizing tale about the weight society hoists upon too many black gay men’s weary shoulders, it’s the kind of film that lingers in your mind days after you’ve seen it, as much due to the relevant subject matter as to Tunde’s penetrating gaze.

Part workplace dramedy, part revenge fantasy, the film weaves together a series of satisfying, organic-feeling turns.

With its indie verve, raucous female gaze, comedic throughline and references to Indian cinema traditions, Definition Please sets out to accomplish a lot in terms of style and substance.

It’s a quiet, elemental nourishment of the senses.

Orner succeeds at evoking a deep sense of empathy for the survivors of Choudhury’s abuse, and although that’s not the same thing as justice, perhaps it’s a place to start.

All three young actors who play the leads deliver solid performances that make them effortless tour guides through their intersecting stories.

It’s rare to see an ensemble film where the cast feels like it has no weak links, but Doyle has assembled a group of fine actors with buoyant onscreen chemistry across the board, and this grounds the movie from the start.

Underneath the plentiful high jinks in its physical-comedy-heavy scenes, The People We Hate at the Wedding ends up being a poignant enough good time that celebrates imperfect yet endearing familial love.

Good Trouble is more symbolic than it is eye-opening, and that’s not necessarily a problem. It’s the film equivalent of a textbook, telling us everything we want to hear about Lewis — even though most of it we already know — and arriving at a moment when reflecting upon America’s long history of racism is more relevant than ever.