Justin Lowe

A fantastical tale brimming with adventure and originality.

The Front Room perhaps leans more toward the repulsive than the highbrow, potentially carving out its own distinct genre niche.

McCarthy’s approach to his original script is marked by an admirable economy of both narrative and style. Withholding plot details, limiting the cast to a bare minimum and confining the action to just a few claustrophobic locations combine to amplify an escalating sense of unease.

Commercials director and artist Dan Covert’s absorbing documentary Geoff McFetridge: Drawing a Life is the first feature-length film to reveal this introspective, consistently innovative creator who’s developed a career on his own terms while remaining engaged with a wide variety of audiences.

In this case, it’s the thrills that sell, and Gran Turismo has plenty of those.

While Americana doesn’t particularly reinvent the Western, Tost’s portrayal of characters driven by unfettered greed or justifiable need gives voice to often-ignored segments of society as they strive for agency and respect — an admirable quality in any narrative genre.

While not a typical teen comedy, Mustache approaches the genre from a perspective that’s gently humorous and refreshingly clever, even if it’s quite a bit tamer than mainstream fare.

Fancy Dance presents a broader narrative that emphasizes the connections that sustain families, communities and tribal nations, even when confronted with a legacy of disenfranchisement. Tremblay’s film validates the varied expressions of that experience with an affirming account of resilience and hope that sparkles with authentic performances, sensitive scripting and a genuine sense of place that resonate well after the final credits roll.

With her considerable musical talent, it falls to Ash to convince Calloway to emerge from self-imposed retirement. It’s in these few scenes between Johansson and Bono that writer-director Jennings’ script achieves a new level of emotionally driven storytelling for the franchise.

In tactfully tackling some of the often-sensationalized issues surrounding schizophrenia, Sattler and screenwriter Steve Waverly craft a topical and emotionally accessible film that should easily connect with sympathetic viewers, particularly those familiar with the debilitating effects of chronic mental health issues.

Yan’s film mines several prominent social issues to contextualize the improbable plot, including socioeconomic mobility, environmental degradation and market speculation. Rather than just documenting their prevalence, she demonstrates how they coalesce to create a conflicting array of impacts for her characters.

Martha and Sadie may be imperfect, but they’re perfectly suited as best friends discovering how to value each other, and themselves, when adversity strikes. Perhaps the same could be said of Kotcheff and Leder, whose teamwork has convincingly converted the challenges of producing their first feature into a remarkably unique accomplishment.

Masciale and screenwriter Luke Barnett, both Funny or Die regulars, have crafted a playfully humorous sendup that’s more about poking fun at their characters than tearing down faith-based filmmaking.

The technical and logistical details of the project are constantly fascinating, but it’s these emotional moments that pack most of the film’s power.

With The Vanished, filmmaker and actor Peter Facinelli channels that fundamental fear into a compact, consistently unpredictable thriller that provides few reassurances, but plenty of surprises.

The dynamics among the Mystery Inc. team members remain fairly intact however, with the female roles in particular registering more clearly and confidently than in past iterations. In part that’s due to more dimensional scripting, as well as on-point performances from the voice cast, with Rodriguez rocking Velma’s unapologetic geek streak and Seyfried embodying a smoothly cool Daphne.

Irrepressibly inventive and often impulsively unrestrained, Emily Cohn’s CRSHD guilelessly celebrates digital youth culture and its sometimes messy inconsistency with abundant energy and attitude.

Andrade serves up an enticing dramedy that wholeheartedly celebrates the potential for multicultural cuisine to unite people from distinctly different traditions, even in the face of determined opposition.

Ryan White crafts a piercingly observant investigative documentary that methodically pieces together a complex collage of incriminating evidence outlining a carefully orchestrated attempt to conceal the sinister implications behind Kim’s assassination.

By turns intriguingly odd and frustratingly obscure, this is confidently quirky material that nonetheless boasts superior production values with style to spare.

There’s barely any let-up in tension throughout the film, even during interviews with subjects who could either be concealing murderous personal histories or potential victims risking their lives to disclose the excesses of law enforcement.

Polsky crafts an engaging, in-depth examination of the intersection of politics and hockey as Russia struggles to gain its balance following the demise of the Soviet Union.

A lethal little ensemble feature that packs quite a few thrills into a compact format.

Interweaving two distinct storylines linked by recurring characters imbues the narrative with a powerful resonance though, somewhat undercut by the more prosaic contemporary scenes, which lack the same degree of tension as the mountain segments.

Rich with revealing observations and engaging anecdotes, Slater’s documentary skirts the nostalgia trap by entertainingly connecting with an impressive lineup of contemporary singer-songwriters referencing the influential '60s pop style with their own releases.

Incorporating elements of drama and suspense, Passon’s pic avoids directly confronting her heroines' covertly sociopathic tendencies, preferring to view them as the outcome of internalized trauma rather than criminal intent.

The selection of Oscar-nominated animated feature film director Travis Knight (Kubo and the Two Strings) to helm the prequel turns out to be spot-on, as he exhibits an instinctual sense for the film’s requisite action quotient while attentively crafting the central characters’ emotional arcs.

Wise’s filmmaking style remains consistently engaging throughout the series as he demonstrates a characteristic ability to elicit particularly salient comments from interviewees, many of them already well-accustomed to media attention.

Unconventional in style and contemplative in tone, The Last Race represents more of a living document of a dwindling American subculture than a typical sports documentary.

As a depiction of the very public emergence of a marginal movement, Lords of Chaos provokes both awe and repulsion, but not necessarily admiration for a musical form and subculture unwaveringly devoted to literalism, no matter how extreme.

Although in the early going the convoluted plot sometimes struggles to maintain interest, Stein and Lipovsky have such a clear vision that they keep developments confidently on track until subsequent revelations engage in full-throttle action mode, leading to a climax suggesting they likely have future plans for these characters.

Wilshire Boulevard Temple’s hard-won renaissance, as chronicled in Aaron Wolf’s fondly crafted documentary, proves to be a vigorous affirmation of the vitality of Jewish tradition in Los Angeles that will fascinate the faithful and enlighten the curious.

Nachman and Hardy have produced another winning and relatable doc combining emotive storytelling with concisely focused filmmaking that's sure to charm viewers well beyond a sizable audience of dog lovers.

This assuredly crafted exploration of the intricacies of early 20th-century social stratification...soars on the strengths of sympathetic scripting and striking wildlands cinematography.

To say that The Package is one continuous dirty joke with an outrageously absurd premise wouldn’t be an exaggeration. It’s also a funny, sweet, raucous teen comedy that’s by turns ridiculous and raunchy, but thankfully never too profound.

First-time long-form directors Costantini and Foster, working from a script co-written with Jeffrey Plunkett, demonstrate admirable resourcefulness and empathy approaching their diverse teen subjects.

There’s enough drama and jeopardy on the business side of Albert’s endeavors to keep an audience focused, however, and he proves to be a thoughtful and engaging personality who’s thoroughly immersed in the exotic world of international haute cuisine.

Davis seems to be down for whatever develops...playing Izzy with energetic animation as she bounces from one manic situation to the next. Osment and Shawkat make the most of their brief, amusingly awkward scenes, while Coon's attempts to behave like an actual adult are skillfully undone by Izzy's determined disorderliness.

A disturbing drama of teen disaffection, Vincent Grashaw’s feature provides an essential and insightful perspective that will resonate with audiences attuned to the challenges of adolescence.

Raso takes Kodachrome (shot entirely on Kodak motion picture film) as a departure point to keenly deconstruct the bonds that hold families together and the betrayals that drive them apart, relying on an unshowy style that emphasizes the actors’ captivating performances.

It takes some time for the action sequences to fully engage, but from about the movie’s midpoint, Peyton delivers a succession of staggering set pieces.

Although live-streaming entertainment may convey the impression of a rather creatively and intellectually impoverished subculture, it’s one that provides comfort and camaraderie for millions who already feel ignored and isolated by China’s rapidly evolving standards of status and wealth.

Playful, irreverent and unafraid to be politically incorrect, the pair script with assurance and direct with stylish understatement, pairing character and physical comedy to entertaining effect.

More ominously mysterious than outright terrifying, this is finely attuned, atmospheric filmmaking.

Director Yonebayashi Hiromasa (When Marnie Was There) returns with a more lighthearted anime feature in Mary and the Witch’s Flower, a stirring adventure most suitable for tweens and teens.

Gently amusing while avoiding needless sentimentality.

Nowlin’s performance...is a marvel of inner turmoil and physical exertion.

The women of Motherland emerge as an entirely different class of heroines, demonstrating Diaz’s insight and compassion in documenting their experiences without judgment or condescension and allowing them to convey their own individual perspectives.

The question mark at the end of the title becomes the most salient issue that the film considers, but don’t expect the Dalai Lama to provide a simplistic resolution. Although as warm and compassionate as ever, his quiet wisdom reminds us that there are still some mysteries that most of us remain unprepared to contemplate.

Wildly inventive on a micro-budget scale, actor Bill Watterson’s shift to directing is an impressively crafted feature that’s full of frequent surprises.

The Nile Hilton Incident represents the type of penetrating filmmaking that only a writer-director intimately familiar with Egyptian culture but possessing an outsider’s perspective could convincingly accomplish.

Spanish filmmaker Luis Prieto, who directed the 2012 remake of Nicolas Winding Refn’s Pusher, adroitly leverages Berry’s familiar face and onscreen persona to consistently escalate tension, as DP Flavio Labiano and editor Avi Youabian construct their shots and action sequences to enable her to totally own the screen.

As Catherine Bainbridge and Alfonso Maiorana’s astoundingly rich and resonant music documentary makes abundantly clear, American popular music – and the history of rock and roll itself – wouldn’t be the same without the contributions of Native American performers.

Writer-directors Calori and Testut have selected a significant challenge for their first feature, which succeeds more on its charm and determination than the classic attributes of movie musicals.

Closer in tone and old-school psychological fright tactics to the original film than either The Conjuring 2 or Annabelle, David F. Sandberg’s incisive approach capably resets the franchise.

There’s much that international audiences will find relatable and enjoyable in the film, which is graced with a particular empathy for human foibles and appreciation for the specific humor to be found in everyday family life.

If all of the overemoting can be ignored, Born in China delivers gorgeous visuals in its close-up perspective on some of the world’s rarest wildlife species, as well as the imposing habitats they call home.

Israelite, building on his experience with teen sci-fi feature Project Almanac, orchestrates a vastly more complex array of characters, action set pieces and technical resources for a combined effect that maintains dramatic tension even while teetering on the brink of excess.

More accustomed to horror material than action extravaganzas, Stamboel and Tjahjanto’s nimble approach maintains a compelling perspective on the key set pieces without overstaging scenes or crowding them with too many extras.

Featuring a fast-paced plot and a snappy visual style, Park's absorbing third feature should appeal equally to high-tech enthusiasts and action film fans.

Once again, Reeves does not disappoint, fully inhabiting Wick by channeling his rage over life’s injustices into an intensely focused performance.

This historical account offers an engrossing and accessible celebration of the game’s modern origins, enhanced by striking locations and a standout cast, led by Scottish actors Peter Mullan and Jack Lowden.

Directors Keith Fulton and Lou Pepe dive right into the school’s maelstrom of tragedy, dysfunction and boundless optimism, delivering an insightful, affecting film that casts sympathetic light on a neglected educational sector in a manner that acknowledges the dedication of countless career educators and may even help inspire a new generation of teachers and social workers.

Dillard’s auspicious shift to features reveals an imaginative young filmmaker prepared to take manageable risks in pursuit of his personal vision.

I Am Bolt presents a dynamic, consistently engaging portrait of the mediagenic track star, and even if it’s sometimes too laudatory, there are also many moments of heartfelt sentiment throughout the film.

Even more inappropriate physical gags, foul-mouthed dialogue and outrageous situations all contribute to raising the stakes, as Waters pushes the cast to amiably outdo the original.

Deliberately skirting the Halloween horror corridor, Brian Bertino’s tautly composed monster movie serves as a brutally effective metaphor for the turmoil of adolescence, with all of its rebelliousness and confusion.

Both unassuming and surprisingly affecting in its DIY authenticity.

Thor, who partnered with screenwriter Ashlin Halfnight on their debut feature Diving Normal, crafts Astraea as an eerily resonant piece of speculative fiction sustained by a consistently elegiac tone and realistic performances, rather than grandiose narrative devices or intrusive special effects.

Killam, who recently departed SNL after six seasons, shows a great grasp of his character’s escalating bewilderment and frustration.

Earnest, direct and sometimes surprisingly dramatic.

Draper constructs a concisely assembled editorial package that covers the essential historical backstory of the 1936 Games while building drama during the competition and establishing a consistently affecting emotional arc throughout.

DeMonaco has further upped his game with the third installment by working closely with franchise cinematographer Jacques Jouffret to design rewardingly more complex action sequences and well-focused set pieces that are both efficiently executed and visually engaging.

Honey Buddies is a comically contagious tribute to male bonding in the great outdoors.

This ensemble comedic drama maintains a light touch while surveying the challenges of accepting adult responsibilities.

By turns touching, funny and sometimes strangely existential, David Osit and Malika Zouhali-Worrall’s documentary, destined for broadcast on public television’s POV program next year, succeeds in telling a highly personal story in a surprisingly relatable manner.

Big Holiday’s episodic road-trip script is a good fit for the film’s sketch-based humor.

Geopolitical speculation aside, Gross makes a persuasive case for the bravery and sacrifice of Canadian troops serving during the Afghanistan conflict.

The final third shifts into high-adrenaline action mode with some thrilling set pieces as Michelle faces unexpected new threats, making the paradoxical conclusion satisfying on multiple levels as it delivers on the thriller setup while introducing surprising new developments.

Ashley Benson gives a striking performance as the target of an anonymous hacker in Branden Kramer’s ingenious debut feature.

The filmmakers’ enthusiasm for their characters and the vanished period setting is palpable, asserting a certain fatalistic charm of its own.

Cohn displays deep sympathy with her protagonist’s intersecting emotional crises, scripting a narrative that’s intensely perceptive without becoming mired in mawkishness.

Patterson makes the most of his access to the two musicians, shooting on the run as often as sitting down for interviews with key participants in the presidential contest.

The film’s greatest virtue is certainly the raw, unguarded moments that Yu is able to capture while interacting with the wrestlers.

Endearing performances, accomplished low-budget filmmaking and a distinctive urban setting all add up to an appetizing offering.

An affecting emotional journey as well as a telling example of how the fortuitous intervention of social media continues to reshape lives in unexpected ways.

Insidious co-creator Leigh Whannell’s economical script vividly reimagines Elise’s motivations for using her “gift” to aid the demon-afflicted while providing a clearer plotline that avoids many of the convoluted indulgences of the first and second episodes.

While Hooper favored shock value and jump scares, Kenan and cinematographer Javier Aguirresarobe construct far more fluid sequences as the camera glides and hovers over its subjects, reserving the most impactful shots for the climactic scenes, particularly a concluding sequence that’s particularly thrilling.

With a style characterized by strong visual storytelling and a seamless rapport with actors both young and old, Bradley guides the cast with a gentle hand and a well-defined vision.

A determined focus on tight plotting and engaging character development not only helps keep the budget in check, but also necessitates an economy of style that heightens the impact of the film’s numerous plot twists.

Solid performances from the small cast and robust visuals will be clear selling points with audiences seeking the raw excitement of an elemental survival film.

The film’s bucolic mood is constantly threatened by the prevailing reality of violence and injustice in the region, a creeping tension that Syeed carefully calibrates to emphasize the tenuousness of his characters’ relationships.

Distilling a couple of decades of stunt work and second-unit directing experience into 96 minutes of runtime, Stahelski and Leitch expertly deliver one action highlight after another in a near-nonstop thrill ride.

Obscure, lyrical and exhibiting a far more European sensibility than even many American indies, Tim Sutton’s second feature is suffused with deep thoughts and emotions, but demands patience.

While the science behind Earle’s conservation project is fascinating, it’s her natural charisma and infectious enthusiasm that are most compelling onscreen.

Overall, the writers have crafted a well-articulated universe with distinct settings and relatable, compelling characters devoted to a thrilling quest for redemption.

Genre comparisons aside, the expert timing and clever setups that were exhilaratingly employed in You’re Next are mostly absent here... Fortunately Barrett and Wingard haven’t lost their ironically humorous touch, as most of the film’s uneasy laughs revolve around upending typical thriller expectations.

Simien intensifies the impact of both action and dialogue with a self-reflexive directorial style that creates a marginally heightened sense of reality, revealing more about characters' motivations than would conventionally be expected.