Katie Walsh

With a highly stylized form, and thick, syrupy ribbons of blood splashing everywhere, Sun Choke evokes a creepy, eerie vibe, but it’s difficult to muster more than a passing interest in the story, because we don’t know who this girl is, or why she does these things.

It's a thrill to watch it unfold, but the slick filmmaking combined with familiar tropes precludes most spontaneity.

Like a weaver on a loom, Hansen-Løve loops these moments together, threading small moments of thought-provoking social commentary throughout, revealing the larger picture only once the process is done, offering a snapshot of a moment in time, a profound and captivating portrait of love, lost, found, and ever-remaining.

Park’s mastery of tone reflects his mastery of cinematic craft, which has only become more surgically refined in the past few years.

It becomes clear that fame isn’t what he’s chasing — it’s perfection in innovation. Anything less is eighty-sixed.

I Am Another You is a remarkably sensitive and lovely portrait of an individual, a family, and a life that shines an uncommonly humane light on the issues of mental illness and homelessness.

There's a certain amount of cognitive dissonance when it comes to the material and the approach that the filmmakers take, and much that doesn't get covered in this short, 80-minute primer.

Hadaway’s previous career as a sound editor is all over this piece, as is her personal experience as a collegiate rower. She has crafted this film as catharsis, and like her protagonist’s journey, it’s both harrowing and triumphant.

The young actress Haas is riveting in a performance far beyond her years. Princess takes its time, but patience pays off in this sensitive slow burn of a story.

The perfect bait-and-switch of a film. Its light, sweetly frisky exterior and easygoing pace camouflages what a subtle and brilliant piece of bracing social commentary it is; a deft portrait of sisterhood existing under the thumb of capitalistic patriarchy.

Sometimes it's those with the hardest struggles in life who remember to appreciate life more than anyone else. This message comes through loud and clear in Cary Bell's documentary, Butterfly Girl.

The edgy and explicit Pillion might be set within the parameters of a relationship that many would consider “alternative,” but the heart of it is the same as any love story that becomes a lesson in self-love.

Black Bag may be rooted in the mind, but it is inextricably connected to the heart, especially in matters of love and trust, betrayal and murder. That’s what makes a Soderbergh genre exercise such a deliciously satisfying cinematic morsel: It is pure fun, but also deeply layered with larger existential themes, making for a delightful romantic spy drama that cannot be missed.

A truly inspirational, emotional and profoundly moving film.

The Hero feels looser, more abstract, and more symbolically ambitious than the winsome “I’ll See You In My Dreams,” and at times you wish for a bit more narrative rigor. But it’s nonetheless a resonant depiction of a man fearlessly reckoning with his life, his image and, most importantly, his heart.

What a wonder that the film adaptation of Judy Blume’s beloved 1970 young adult novel Are You There God? It’s Me, Margaret is as lovely, heartfelt and, indeed, deeply radical as the original text.

A cinematic delicacy as rare as the truffle itself.

Wong’s deft script and sure-handed direction means that even as these characters spiral, we never blame one or the other. It’s a unique approach to storytelling and character building, and it signals Wong as a major talent to watch.

Coogler has delivered one of the best blockbusters of the year, and that it has a heart and brain behind all the blood-drenched thrills just makes it that much more satisfying.

Equally enchanting and disturbing in its unique blend of magical and social realism, “Is God Is” is a highly stylish and daring announcement of a new cinematic talent in Harris, who has been allowed to fully express her vision, uncompromising and entirely hers.

Ultimately, Gibney's film is fascinating for the people in it. The filmmaking is nothing exceptional, but what is remarkable is the bravery shown by those who speak out in the film.

Feels incredibly fresh and modern in its singular style and tone.

It's a viewing experience that's challenging, unflinching and deeply honest.

It is potentially the most culturally relevant film of the fall, masterfully made and one heck of an emotional roller coaster. From moment to moment Boys State veers from exciting to troubling to amusing, and it's never anything less than utterly riveting.

It’s timely, it’s entertaining, it’s a blast of energy, but Weiner also drills down into the unique nature of American politics in the media saturated, smartphone-enhanced, Twitter hot-takes age.

The outlook of The Happys is reflected in its title — even when things are dark, Tracy maintains her sunny outlook. It might be a bit too spit-varnished shiny, but her happiness is hard-won.

It's a mixed message, but that perfectly encapsulates the confusion of 2016 American politics.

Crafted with care and a distinct point of view, Between the Temples is the kind of film that bears rewatching just because you want to spend more time with its idiosyncratic rhythm and energy. Singing in its own key, there might not be a more authentic and purely entertaining film this year.