Jacob Oller

A return to form for writer/director Ivan Sen—an Indigenous Australian filmmaker whose 2013 movie Mystery Road, its sequel and its miniseries spin-off all deal with similar subject matter—this cold-case thriller hacks through its genre clichés and Christian symbolism early so we can appreciate its charming, somber core.

Thanks to its commitment to the ‘70s made-for-TV bit, ever-escalating stakes and nervously swaggering lead performance, the ratings ploy from Hell finds substance inside its shtick.

Monkey Man is the kind of action movie I want to see more of, and it gives Patel the chance to turn himself into the kind of action star he wants to see.

A multimedia extravaganza of frozen idiocy, Hundreds of Beavers is a slapstick tour de force—and its roster of ridiculous mascot-suited wildlife is only the tip of the iceberg.

While there is a literal amount of truth running through the semi-autobiographical Suncoast, its glossy, uncertain cutesiness is as fake as Ron DeSantis’ height.

In making its characters physically confront their heartbreak, Handling the Undead becomes one of the saddest, most contemplative zombie movies ever made.

Between the Temples is covered in these sores, full of stories that are funny from the outside and will be funny when told with hindsight. And it is funny. But it’s the honesty, our understanding of the how and the why behind these truthfully conveyed pains, that lodges Silver’s film in your heart.

Once the documentary has made its easy point, it doesn’t have much else on its mind aside from making it again and again. For some, that’ll be eye-opening enough, but I don’t think they’re the people who’re watching documentaries about rap lyrics.

The documentary gives faces, names and histories to those affected by the residential schools—and looks, bracingly, towards a future where healing is possible.

If you love slashers, and love the language of slashers, it’s inevitable that the charms of In a Violent Nature will reach you. Eventually.

Love Machina may want to take a peek behind its own curtain every once in a while for a reality check.

A standard-issue horror barely making the move from short to feature (it’s only around 80 minutes before credits), The Moogai is a scare-free blunt instrument, imprecise and uninterested in its own genre beyond its potential for metaphor.

Crafted with such delightful suspense that you can’t help but smile as you squirm, Brief History of a Family pulls from plenty of genre influences (its have/have-not friction and affluent apartment confines will be familiar to Parasite fans) to construct a tight dramatic metaphor encompassing Chinese parenting values and the end of a sociopolitical era.

A counterpoint documentary to its festival companion Love Machina, Hans Block and Moritz Riesewieck’s Eternal You observes the burgeoning industry around techno-spiritualism with wry skepticism.

Its devastation is familiar. But because filmmaker Shiori Itō is both survivor and journalist, and recorded her own investigation into her assault in real time, the documentary becomes a thrilling testament to her exceptional, tenacious agency in the face of a hostile world.

Porcelain War‘s questions around how we cope, and what’s worth fighting for, are as vital as ever with the world still full of ignored pandemics, government-sponsored genocide and ongoing invasions.

Like its absentminded hero, the film can sometimes get sidetracked right when things are getting good, wandering down schmaltzy or twee narrative paths. But when it lets Thelma (and Squibb) do her thing, the comedy is perfectly cute and a stellar showcase for what an actor’s late career can offer.

A documentary that can struggle to tie its young politicos to the outside world, but thrives when tying them to each other.

Sometimes her script devotes too much ink to reinforcing ideas already well-established by her images, and sometimes her dialogue can veer towards flowery YA conversations. But Talati’s made a gripping and beautiful debut, filled with reasons to watch her next movie.

Where Chicken Run once played off of the specific aesthetics of WWII POW films with dark humor, Dawn of the Nugget loses its identity in favor of a harmless playfulness interchangeable with a Madagascar or Ice Age sequel.

The wreck of Wonka stings because of the clarity with which we see King’s eye for visual comedy and lavish setpiece staging, squandered on a movie where branding was always going to eclipse beauty.

Through Ellis’ eyes, it’s impossible to stay uninvested. We watch, stomach bottoming out, as the law is repealed with a simple vote. We watch, sitting on our hands, as the new amendment is introduced.

American Symphony itself is at its most mundane when focused on the professional life of the rousing, youthful musical multihyphenate. And, because it builds its structure around the creation and premiere of his first symphony, much of the film bundles that mundanity into the kind of behind-the-scenes footage accompanying a concert doc.

Even when it’s not selling its past self, Good Burger 2 is selling something. It’s what makes it a hard movie to root for, even when it lucks into saying the right things: It tosses one money-grubbing trend in the trash while ordering all the others directly off the menu.

Monster’s mystery is one only in the ways that all of our experiences are inherently mysterious to others; its drama is devastating, a tragically inevitable snowball rolled by this existential loneliness; its warmth is gloriously defiant of this fate.

With its traditions captured in delicate, sweaty vignettes by filmmaker Anna Hints, Smoke Sauna Sisterhood’s anecdotes fill your lungs and engulf you, until its women’s secrets drip down your body.

Bone-dry yet filled with yearning, Aki Kaurismäki’s Finnish rom-com is a charming tale of persistence amid chaos.

When its pet topics enter into conversation with one another, revealing a throughline underscoring the basic rights of everyone working on a film project, Subject cruises along. In the film’s most propulsive sections, passion is as paramount as self-awareness, with vigorously cut documentary snippets affectionately emphasizing its self-critical points.