Katie Walsh

This rape revenge story swaps points of view, but it doesn't break the mold. The characters, archetypes and beats are familiar, which allows Fargeat to play with symbolism in a bold, pointed manner.

It’s a thoughtful and complex film that unfolds under repeat viewings and signals the arrival of an exciting new filmmaker.

Treviño’s effervescent and empathetic performance as Marisol keeps A Man Called Otto on track, both actress and character proving to be the saving grace for this curmudgeonly fellow, and film.

The Hustle nods to its predecessors and feels at times like “To Catch a Thief” meets “Absolutely Fabulous.” But what makes “The Hustle” work is its stars.

Tonally, Devotion remains steady, never going for over-the-top emotion or sensation, simply seeking to express something authentically moving and human. It unmistakably achieves that, delivering a stirring story of friendship during war, and beyond, that is both rare and real.

Because the movie starts at an 11 and doesn’t let up, the runtime feels overly long. However, the voice performances are excellent, especially Cage, who brings his signature sense of yearning pathos to Grug the Neanderthal.

The lack of a strong narrative through-line makes for a film that is informative but dry. Nevertheless, it is an urgent plea for us all to make conscious choices in our consumption.

Inspirational, entertaining, and absolutely awards-caliber (from first-time director Karasawa), Elaine Stritch: Shoot Me offers up an indelible and rare experience in cinematic form—it’s simply an absolute treat to be able to spend this much intimate time with such a legendary lady.

The film is utterly absorbing, anchored by the unpredictable performance of Taylor, playing a hopelessly complicated, but deeply caring woman.

The film is shockingly violent and bloody, but there are also profoundly poetic moments and images that pop up like wildflowers in a field.

Unrest is a sensitive and arresting rally cry for increased awareness about this disease, and an existential exploration of the meaning of life while battling a crippling chronic illness.

Mascaro’s film is an auspicious, original, and absorbing work that thrills with its look into this little-seen world and the dreamers that inhabit it.

Preparation for the Next Life is a powerful assertion of dreams, humanity and hard work — arguing that every person has a past, a future and a story to tell.

When JR turns his gaze toward a person and pastes their image on a wall, he’s inviting others not just to participate in this project but also to look their way, to pay attention to someone or something by seeing it differently in the world. It takes a village, but all they need is paper and glue.

Galifianakis steals the show as the friendly fussbudget in a performance we've come to expect from him. The enormous potential on screen is tantalizing, which is why the disappointment of failed execution stings.

Within "Housekeeping’s” restless, naturalistic aesthetic, Stolevski crafts complex and poignant images, contrasting the playacting the couple is forced to do with their searing gazes.

Despite all the limitations on her life, Rose-Lynn is one of the most free-spirited creatures to ever be put on film.

The central relationship of “The Valet” is the weakest part of the film, and much of the comedy is a bit tiresome, though a few bits do pop.

The Forty-Year-Old-Version is that rarest of films: funny, wry, incisive, sexy and sincere.

Though the film initially feels like a patriotic tale of a daring mission, this isn't a story of U.S. military triumph, it's one of sorrow.

The camera work is meticulous and exquisite in its expression, creating a sense of tense foreboding throughout, linking characters and images with a creepy omniscience.

Firecrackers isn’t just a confident feature debut from Mozaffari, but a daring one, the kind of fast and furious feminine filmmaking that heralds the arrival of several exciting new talents.

It’s his own words, and confronting them now, having lost many of his friends to spats and fights, brings Crosby to his most vulnerable place.

This wild, vicarious ride through youthful adventure is absolutely worth taking, for your own nostalgia and for the reminder that the kids are indeed alright.

What Arnold manages to make tangibly cinematic in Cow is the soulful spirituality of these animals, their beauty and their emotions. It is as moving as it is devastating, and although this film requires patience and fortitude, it rewards with a singular and perspective-shifting cinematic experience.

There’s an important lesson at the center of Song Sung Blue, about abandoning self-consciousness in a relentless pursuit of a dream. Despite the obstacles, their age, the setbacks, there is a pot of gold, not at the end of the rainbow but within it, in their shared dream.

It’s an impressive feat of unfolding this story, though there are a few moments where it loses the narrative thrust and momentum along the way. Still, it’s a remarkable portrait not only of this particular man, but of a culture in a transitioning moment: adapting to new influences and growing older, but continuing, always, to remember.

It’s clear that the Panther legacy lives on, and Nelson’s film is a necessary primer for understanding the party — in it’s own words.