Katie Walsh

The film is more mood and aesthetic than anything else, and it nails the fictionalized, aspirational high school look — down to the actors who appear to be in their mid-to-late 20s playing 18-year-olds.

There’s enough weirdness for Yoga Hosers to possibly generate some stoner cult appeal, but it’s shoddily slapped together, with a clearly first-draft script, terrible editing (by Smith the elder) and continuity errors.

The always wonderful Martindale nails the tone in her warm and nuanced performance, combining sly humor and a soulful presence, while the men orbiting around her range from complete goofs (Copley and Jenkins) to self-involved and dour (Krasinski).

The failure of Morgan is in its lack of restraint. The first half of the film is as tightly controlled as the lab facility, with small moments of foreshadowing planted expertly, if obviously. The second half descends into a violent bloodbath, and the twists in the story that lie just below the surface waiting to be discovered are spoken aloud, taken from theory to fact

It ends up more of a study in moral and ethical decision-making, than as an emotional catharsis or release, but it's a worthy journey nonetheless.

Humanity permeates Cameraperson, thanks to Johnson’s presence, so as experimental as it is, it’s also stirring and poignant, with a tangible sense of empathy intact in every frame.

The tension never lets up and the shocking twists in the story need to be seen to be believed.

Equal Means Equal is a lot to process, but offers an unflinching look at the fight for equal civil rights for all.

The film meanders, and the climax descends into campy fantasy worthy of any ’80s B-movie, but Records is quietly winning.

It feels more like the sketch of an idea than a fully realized film, and it ends on a note that seems it should be the beginning or middle of the story, not the end.

It’s thematically rich, and confidently directed with a clear point of view, set against a backdrop of relevant socioeconomic and cultural issues. But it’s also a deeply relatable and affecting depiction of the heedless beauty of a first love.

As underground and DIY as the kiki scene might be, it’s still highly organized, and part of what Kiki expresses is this community organization as a strategy for survival. The struggle is real, and it’s hard to imagine how they keep pushing that boulder up the hill — being fully themselves in the face of so much hardship — but they are tough, and united.

The cryptic and mysterious story is crammed with overwrought issues — cancer, divorce, fraud, war — which the characters then over-explain.

Matthiesen offers no easy answers, but The Model paints a decidedly unglamorous picture, while pulling back the curtain on the exploitative realities of the business.

Ultimately, it’s a fascinating depiction of the way men do — or don’t — confront life’s tragedies and traumas.

It’s a film that dares you to give it a bad review, simply so it can turn around and call you a bully who picks on the people who try. It invites you to giggle at Florence’s horrible singing and then promptly scolds you for laughing, creating a contradiction that goes unreconciled.

The most disappointing thing is that Nine Lives doesn’t even dare to be an audacious mess. It’s a Frankenstein’s monster of Hollywood’s worst instincts, a movie made with a math formula where its vision should have been.

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.

Lace Crater is a thoroughly modern ghost story that creeps into camp, testing the audience as it wavers between terrifying and deadpan funny.

There’s no denying Jones’ magnetism, her amazing spirit and her otherworldly talent, and “Miss Sharon Jones!” is a fine tribute to her as an individual. But it leaves you wanting more — more from her history and rich backstory. It’s clear the whole story hasn’t been told — yet.

Despite the melodrama, the connections these women forge are heartfelt and earned.

Rozema has a careful but unflinching eye when it comes to presenting the physical and emotional traumas the sisters experience. Even when some of the events escalate to operatic, nearly mystical levels, the direction feels assured and solidly rooted.

As Nerve builds to a roaring Thunderdome climax (which is resolved all too easily), it starts to lose its grip. But the ride is a neon-saturated teenage dream, high on first kisses and digital hearts.

"Collision Course” is simply a perfunctory, watered-down entry in the series that feels like it should have been released on home video.

The whole thing has a very seedy, late-night cable feel, which is where you should catch this film — and only if you’re a die-hard UFC fan.

It’s an inspiring portrait of a truly feminist mode of art.

Hooligan Sparrow is a vital reminder of the importance of artistic and journalistic freedom, and that telling certain stories can be an inherently perilous proposition — especially when those stories reveal something that the government would rather keep under wraps.

There truly is no business like show business, and Ovation perfectly captures that.

No amount of star power can save the script by Brad Desche.

On the wildly uneven rollercoaster that is Mike and Dave Need Wedding Dates, the lows far outweigh the highs.

Roseanne for President can’t quite decide what it wants to be: a political farce underlined with John Philip Sousa-esque military marches, a deep dive into the electoral workings of various third parties like the Green Party and the Peace and Freedom Party or an intimate portrait of a fascinating, wild and influential cultural icon. It’s all of these things and therefore not quite enough of each of them.

There’s an immensity to the small dramas of this awkward in-between stage, where Microbe and Gasoline revel in no longer being boys, but not yet men. Gondry brings a sense of heartfelt nostalgia, pathos and humor to this portrait of a short, unique adolescent moment.

Despite its best efforts to be thought-provoking, the film is dramatically inert, slow and its revelations aren’t all that politically illuminating, relying on coincidence and worn tropes to obfuscate its lack of ingenuity.

The story is an intriguing twist on the western genre, but in piling on other subgenres and story elements, including a dangerous and charismatic cult, it dilutes the essential nature of what could have been a potent revenge tale.

In following this couple, Jin’s film celebrates the wonder and magic of every single life; finding the extraordinary in the ordinary.

Despite the overwrought stylization, the heart of Seoul Searching does ultimately emerge: a tender story that’s more about the high stakes of youthful connection than culture, proving that this universal tale transcends borders.

It’s a fascinating look not only at this particular character and his wide reach, but at the evolution of the Internet, its utopian possibilities for connection, and the dark side of its power to expose and harm individuals within the system.

Leena Yadav’s Parched is a bright jewel of a film, surprisingly funny, fresh and upbeat in the way it takes on the complicated and often dark topic of sexual politics in rural India. T

Husson’s film details the consequences of such free love, but it celebrates sex too — the kind based on intimacy and love. Teens and sex: it’s a tale as old as time but this take is surprising, invigorating and sharply frank.

Writer-director James Bird took inspiration from real-life experiences, and the story is obviously heartfelt. But despite a stylized, edgy surface, Honeyglue doesn’t stray from the well-worn weepy narrative.

It’s a color-by-numbers thriller that’s flat.

Proceed with caution to "Warcraft," but there is entertainment to be found here. It's certainly more absorbing than the lazily assembled "Alice Through the Looking Glass," because Jones' exertion and drive behind the film is palpable, if a bit sweaty.

It’s So Easy suffers from an approach that leans more on telling than showing, and we just have to take his word for it that his life’s events are that fascinating.

Ultimately, any sass, sentiment and personality are obliterated in the noisy chaos of the climax, which is a grayish brown blur of flying spaceship parts, whirling turtle shells and shouts of "the beacon!" It's more cacophonous than cinematic, and loses the quirky charm of the cartoon in the avalanche of computer-generated violence.

While Holy Hell only offers answers about this particular group and the experiences of these individuals, it’s a riveting piece of work, a look into a tightly-controlled and private world of brainwashing, abuse and exploitation in the name of spiritual fulfillment.

The real problem is that there isn't enough whimsy in the world to save this unengaging story.

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.

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.

Proves to be more than just a gimmick, and it doesn't skimp on any of the quirky wackiness that you might expect from a film about blob-shaped, flightless birds battling pigs.

With Neighbors 2: Sorority Rising, they've flipped the script, creating a feminist party classic that's completely current and doesn't skimp on any of the wild humor. It's also even better than its predecessor.

While its heart is in the right place, Welcome to Happiness is too fixated on its twee peccadilloes to truly succeed.

The writing crackles, and Miller doesn’t waste time getting right at the meat of the story.

Barton is a standout as the alluring, broken young woman who hides as much as she reveals.

Sundown is a distressingly sexist and tone-deaf spring break sex comedy cobbled together from references to other classic party films and sounds as though it was written by aliens approximating teen speak.

The film ends up as a heartwarmingly raunchy celebration of unabashed and diverse sexuality without shame or hang ups. And somewhere along the way, writer-director Jeremy LaLonde manages to squeeze in some romance too, turning this sex comedy into a rom-com.

Louder Than Bombs never quite comes together. You keep waiting for it to gel, but it just drifts along until it drifts away.

The film is well-made — the direction is strong, the cinematography by Barry Markowitz compelling and the script by two first-time writers is confident. The biggest problem with the film is Charlie himself.

The emotions about the complicated relationships between mothers and daughters are spot on, and there’s no shortage of star power. But there’s an insistently dour fog over the proceedings, and the film feels subdued and sedated without the levity to brighten up things.

A sweet if underwhelming documentary with plenty of character, but told in such a simple and gentle way, it doesn’t quite grab audiences as it could.

The film manages to be exceedingly dull, perhaps because it's too enamored of its own design, concept and location to bother with a captivating story.

The film is a moody and lyrical contemplation of grief and the connections that can be found within the void of loss.

From a storytelling perspective, the obsession with guns in a movie aimed at children is troubling, in poor taste and is lazy writing to boot.

Mother's Day is a total mess, but what's truly offensive is that they didn't even try to make this cynical, post-Sunday brunch cash grab even remotely watchable. Your mom deserves so much better this Mother's Day. Go see "The Meddler" instead.

Though the first half of the film is far more interesting than the overwrought melodrama that it becomes, Sky remains a deeply compelling and optimistic valentine to the possibilities of the West.

Every time Charlize Theron is on screen, the movie gets crazy campy, and therefore at least somewhat interesting.

There are a few stirring moments, but it never seems authentic or real, just a bizarrely staged re-creation.

Criminal feels like the kind of high-concept, unapologetically preposterous action movies of the heyday in the '80s and '90s. If that's your thing, it's a hoot.

There are a few chuckles to be found in Bill, but this is decidedly more "Robin Hood: Men in Tights" than "Monty Python and the Holy Grail."

It's a sweetly funny, charming and poignant depiction of this very specific time in life — at once universal and specific — when anything seems possible. And with killer pop tunes to boot.

Wedding Doll is a small film with a unique take on coming of age and finding one's own place in a world that's often unwelcoming to people who are different.

Unfortunately, The Syndrome fails to adequately elucidate the many nuances of this complicated subject.

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

Kusama reveals and conceals the geography of the house, parceling out just enough information to understand its logic, while leaving certain dim recesses mysterious.

It feels at once overwritten and thematically thin, coasting on a cutesy concept before descending into relentless, and therefore meaningless, violence.

Rosenmeyer and Shaw have an easy charm and chemistry together, but the been-there, done-that material doesn't match their talents.

Though the craft is exceptional, there are some storytelling missteps.

It’s appropriate that the Natural Born Pranksters take their name from the film “Natural Born Killers,” because this group of YouTube stars just murdered prank-based humor. RIP pranks.

There isn't enough mystery and ambiguity around the murders to create a sense of fear or dread, yet there's something rather effectively creepy and compelling, with its retro thrills and chills

It's illuminating to see Huppert and Depardieu in a different mode, and Huppert brings a delicate physical and emotional fragility to her role. These two are fantastic, and they're fantastic together.

No Letting Go has all the subtlety of an after-school special, and the performances feel like they're from a public service announcement about mental illness.

The Dog Wedding is rather a minor effort, and the amateurish acting of the supporting cast and stilted energy are hard to forgive.

The cinematography, by David J. Myrick, is lovely and luminous, but the story itself lacks insight or deep emotion.

The protagonist's unlikable routine is too high a degree of difficulty to execute flawlessly.

While the film runs a bit too long, and the heartstring tugging becomes overwrought, overall, this family melodrama about a devastating illness and the freak accident that cured it is surprisingly effective, even for those of little faith.

The facade the film offers is a lovely, and mildly diverting one, but there’s little insight to be found below the surface.

About Scout is a fantasy of escape rooted in the harshly lit realities of life.

The film's musings on artists and muses tries to be deep but gets bogged down in tiresome booze-soaked mind games.

Ultimately, all audiences can find something to enjoy in Zootopia, though adults may find more to sink their teeth into, which is always refreshing.

While the situation seems at times dire, Trapped contains a distinct hopeful streak that is at once defiant and singularly human.

Ava's Possessions is powered by an amusing conceit that configures demonic possession as a metaphor for addiction. But the metaphor alone is not enough to sustain this minor effort, which wears thin over the course of a feature length.

There are a few inventive battles on a frozen pond and atop the tiled roof of a temple, but they are so CGI-enhanced as to seem cartoonish, not marvelous.

A story that’s specific, but universal in many ways, of family complication and connection, A Country Called Home, bolstered by the excellent score by Bingham, and Poots’ delicate performance, is worth the time.

An effective and unsettling neuro-psychological thriller, They Look Like People creates a creepily mundane sense of dread in its depictions of a schizophrenic's paranoid delusions.

With a stacked cast and skillful filmmaking, Triple 9 proves to be a satisfying crooked-cop heist thriller, imbued with complicated topical issues that last long after the adrenaline rush.

The film itself is a bit rudimentary, with amateurish titles, and editing choices that bloat the already extended length, but the interviews with band members and fans are insightful and engaging, with archival footage that truly rocks.

Risen is a fascinating cultural artifact, but as a film, it's destined for no glory greater than as an appropriate cable rerun on Easter.

Writer-director Dalio has firsthand experience with bipolar disorder, and his perspective sheds fresh light on the unique ways in which manic-depressive individuals experience love and creativity.

The tone is wildly inconsistent, particularly with plucky, lighthearted music accompaniment scoring what is essentially a teen crime spree.

Old stereotypes are trotted out for humor's sake, and it's not a question of offensiveness, just that the jokes feel 10 years old.

This film is an important historical record, and an important reminder of an event in American history that could have changed everything, that should have changed everything. There’s no reason why it still can’t. Newtown is a crucial reminder of that.

While there are some missteps in the story, there’s a lot to admire in The Free World, particularly in what is sure to be a breakout role for Holbrook.

It’s an incredibly moving film that encompasses a wide scope of global issues through the intimate remembrance of one life.

Tyler Labine, known for his comedic work, contributes a fine dramatic performance tinged with comedy, and Crawford is equally as good. A smart script deftly opens and builds upon itself in a controlled slow burn.

Bright spots are found in the supporting cast.... They just are not enough to pull "Dirty Grandpa" out of its ill-conceived and poorly executed gutter.

The twists and turns of this stylish and well-acted if minor thriller bring Sonny to unexpected yet apt conclusions.

A refreshing and relevant cinematic representation, Naz & Maalik is an impressive debut for the filmmaker and actors.

The all-star cast is uniformly good, but the script lacks any sort of nuance to temper the pandering lecture.

The film works best when focusing on the conflict between world-weary Huck and dreamer Tom, but the characters are underdeveloped and the plot overly convoluted, lacking the foundational support to prop up their antics and capers.

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.

Rather than stooping to horror-genre antics, Mallhi weaves a tale that is spooky but sensitive and focused on interpersonal relationships between mothers and daughters.

The Girl in the Book is an auspicious debut for Cohn, a showcase for VanCamp’s true acting abilities, and a fascinating feminine story.

Despite the perfunctory social commentary and retro political optimism, the film remains a lighthearted romp to its core.

The greatest appeal of The Girl King lies in the fascinating historical character and the formidable actress portraying her.

Illuminating and fiercely original, if you’re willing to go along on a silent, experimental, dance-based journey of a mother in the desert, Ma is well worth the ride.

It's a very, very funny film but also sweetly sad and poignant, echoing the mix of humor and pathos that marks a New Yorker cartoon exactly what it is.

It's a moving portrait of sisterhood, a celebration of a fierce femininity and a damning indictment of patriarchal systems that seek to destroy and control this spirit.

Sand Dollars has an assured, light touch.

The film may deliver an all-too-neat resolution, but the haunting reminder that your past is never far away lingers.

The story on screen comes off as a naive interpretation of the homeless experience as imagined from a place of great privilege.

Despite the predictability of storytelling, The 33 is an undeniably rousing picture.

Jolie Pitt’s insistence on creating a piece that reflects the harsh inner state of a person suffering to understand herself as a wife and as a woman in the world is commendable, and fascinating in her growth as a filmmaker.

It's a shame that what could have been an intriguing situational thriller devolves into a hateful, arduous drag

At its heart, it's a simple story about a family gathering around a loved one, but there's too much going on narratively and stylistically.

The Armor of Light condemns the organizations that create cultures of fear in order to line their own pockets, cultures that end up putting human life below profits.

Writer-director Luke Sabis brings some interesting ideas to the well-known genre, exploring the nuances of abuse, spirituality and redemption. Unfortunately, the low-budget execution shows on screen, with a dim and dismal look, and the energy is decidedly lethargic.

Unfortunately, there’s a missed opportunity to develop the suspense within a structure that has built-in tension. The pacing remains steady during the ramp-up to the final pitch, but it lacks competitive drama.

The soundtrack is fantastic and Samuel eminently watchable, but "Asthma" suffers from near-lethal doses of self-satisfied hipness.

Director Natalia Leite brings an emotional intelligence and sensitivity to Bare that raises it above its smutty late-night cable premise of a small-town girl falling into a lesbian affair and exploring the world of stripping.

Jane is a genius, but she's deeply flawed and complicated, struggling with substance abuse, mental illness, her own past regrets. That dark underbelly adds depth and dimension to the ironic humor of Our Brand is Crisis.

The torment that Maud is put through is devastating, but Suffragette, as a film, often robs itself of its own emotional power.

Nathaniel, a native of Pakistan, has delivered a stunning, emotive work that takes to task oppressive patriarchy. It's a gorgeous, suspenseful cinematic achievement.

The ideas are not deep enough and the dramatic tension isn't real enough to sustain this feature.

Filmmakers Ricki Stern and Annie Sundberg bring a skilled and nuanced storytelling to the film, which never shies away from the harder moments.

Breaking Through is curiously low-energy, riddled with hackneyed plot devices and weighed down by choreography that doesn't come close to what you'd see on network reality shows.

It's clear that Roth was trying to say something about the brave new world of social media-enabled social justice, and public shame as a tool for change, but the message is garbled. That it comes wrapped in a horror package that just isn't truly scary or suspenseful is the real shame though.

Cusack puts in work as Paul, an old-fashioned hero. But he seems miscast and can't quite modulate the levels of camp in his performance.

Reynolds and Mendelsohn could not be more different actors, but in this pairing they are perfect.

Despite what the film might want us to believe, if he walks, talks and acts like a selfish, predatory creep, he is, and there's just no sympathizing with him.

The electrifying Northern Soul captures the 1970s British club scene of the same name with ethnographic detail and ebullient style.

The film can feel like an infomercial for the foundation, but that doesn't stop the power of the stories from coming through.

With simple storytelling, the film allows its star, Velasquez, to shine, and with her endless reserves of positive energy, eloquent speaking and willingness to be vulnerable, it's no wonder millions of people have already found her inspirational.

Wildlike is an uncommon and deeply sensitive take on this type of story.

In Western, the filmmaking philosophy remains the same, but the subject is new and different, and the storytelling is deeper, nuanced, and honed by experience.

Unexpected and charming, “Manson Family Vacation” is one ride you’ll want to catch.

The entire piece is precisely woven together, from script to performance to execution, and the result is a chilling study of emotional annihilation and its aftermath.

Oyelowo and Mara's riveting, embodied performances rise above the material.

Meet the Patels is a fascinating window into the cultural practice of arranged marriages through a contemporary lens and anyone who’s been through the trials and tribulations of dating (or parenting those who are) can relate.

It's a fascinating exploration of the things that can thrive in the soil of a jealous mind, fertilized by suspicion and a lack of sight.

It's satisfying, charming and surprising — a film that keeps its supernatural elements grounded in reality, with the focus on the spirituality of true love.

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.

This light comedy stretches beyond sports to find emotion at its core, without sacrificing laughs.

The climax is overwrought and cheesy, which doesn't match with the quiet dignity of the Inuit man. He carries a profound and sage warning, but Chloe and Theo just isn't the right dramatic package.

Unfortunately, A Reason doesn't have enough story to justify its running time of nearly two hours, and though the performers are skilled, the melodramatic score and deliberate pace result in a piece that is overwrought but underdone.

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.

A sweet tale with a smart storytelling device and charming performers, but not much more beyond the cute.

Gorgeous and naturalistic shots by cinematographer by Autumn Durald speak volumes, and the atonal, foreboding score by Nathan Halpern creates a sense of dread, though they are ultimately squandered in an underdeveloped story.

Fort Tilden is cringe-worthy but true. Maybe that's why it's so uncomfortable to watch.

A contemplative look into one man’s life, Homme Less has resonance beyond just Mark Reay.

The true star of The Gift is Edgerton as director. His deft, controlled maneuvering of plot, character, style, and tone is damn near perfect for his feature debut — even if it is in service of a very standard genre piece.

The loose structure of Five Star lends to the realism and documentary feel of the film but can often make it a bit hard to hook into the narrative. However, it's eye-opening to see an indie approach to this genre.

Heartstring-tugging if a bit humorless.

Mad Women is punishingly dull and apparently aimless, without any real conflict driving the story, just confounding and ridiculous interactions among the characters.

The low energy pace and performances strive for naturalism but just don't achieve compelling tension or suspense.

The ensemble shines in demonstrating the complexities of the individuals who either endure or exploit this system of abusive power dynamics.

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.

The luminous Garrett shines as Brenda, emerging from her shell. Hauptman manages to sand down David's spiky edges. The supporting characters, unfortunately, are two-dimensional and less charismatic.

Max is a big slice of patriotic, down-the-middle genre fare, but it manages to work — and jerk a few tears along the way.

Like many music documentaries, this film suffers from the tendency to reiterate its point too often.

Writer-director Anders Morgenthaler's conclusion comes far too hastily and haphazardly, with a disregard for plot details or plausible storytelling.

On the surface, Grandma is a simple story, but the script imbues it with deep reserves of emotional depth and meaning that are slowly, organically revealed over the course of the plot.

As over-the-top operatic and inexplicable as Dawn Patrol can be, producer and star Eastwood remains captivating and charismatic, ultimately serving as a grounding element within the swirl of emotional drama and almost saving the film from going overboard.

Heineman, in placing himself in such danger, has managed to create a remarkable and distinctive film that takes on a difficult issue that cannot be so conveniently remedied or ignored.

It rings true and resonates as real even in its fantasies, because it is rooted in a place of authenticity, in subjectivity, in emotion, and in storytelling. And that is what makes a film like this work so well.

The script is well-structured, refined, and satisfying, and the direction is sure-handed. Not to mention, it's refreshing to have lesser-seen romances and different kinds of friendships on screen. Emotional and entertaining, I’ll See You In My Dreams is a sweet and sensitive tale.

What really hampers Miles to Go is its aimless wandering. Many things could be forgiven with some growth or movement in the journey, but ultimately, this one just ends up running in circles.

This treatise on what to expect when you're not expecting offers up biting cultural satire with a hearty dose of humanity and humor to boot.

Like a haute couture garment, Chic! is a finely crafted piece of work, a comedic romantic drama set within a frothy and sublimely funny caricature of the Parisian fashion world.

Co-writer and director Maxime Giroux's Felix and Meira is an unusual love story that, though shrouded in chill and shadow, has moments of true loveliness.

What could have been a taut and tense thriller is ankled by the inert characters, clunky screenplay and nonexistent back story.

The Road Within suffers from midfilm wandering and a hasty ending, but the message of self-acceptance rings true and clear.

What director Caryn Waechter does best is artfully and lyrically capture moments of teenage abandon where the girls feel free, self-possessed and full of friendship love.

While the experiment itself is fascinating, the approach taken by Almereyda in using distractingly peculiar storytelling techniques only succeed in distancing the audience from the film's inspiration.

It’s a curious, infuriating and haunting tale, and an accomplishment of documentary filmmaking.

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.

Silverman is completely riveting as she tries and flails to do right, and her physical performance is remarkable: a change in her gait or expression signals the switch in her personality from human to addict.

It’s a journey deep into the psyche of the tormented genius, that is as all-encompassing and expressive of Cobain's spirit as a film could possibly be. It's a true achievement, both in documentary filmmaking, and in preserving the memory and legacy of Cobain.

With a dry and witty tone, it’s an amicable and appealing piece on love, both the romantic and family kind, and the ways in which it can change, evolve, and grow.

Smart, playful, and hilarious, The Overnight is a delightful romp between the sheets.

The film takes a dark turn at the end, and while the two sides of Nasty Baby are interesting, well-made, and well-performed, they feel like two completely different movies.

Utilizing underseen subjects, [Baker] captures their world in a thoughtful and artful way, and it also happens to be a damn fun ride.

Though it’s dealing with difficult subject matter, the film teems with life throughout every funny, bittersweet, and wild moment, slapping a smile on your face that won’t go away and you don’t know why.

The film is exceptionally well-made... There is nothing warm about the style, yet it allows for moments of simmering tension, broken by a few emotional explosions that shatter its well-composed surface.

Unexpected is sweet and the portrait of the friendship is lovely, but it also feels too slight.

The genre play is an interesting and original take on what has become a cliché genre of Brooklyn relationship dramedy. But unfortunately, the execution of the story is bungled along the way.

While the performances are compelling, particularly Franco's, and the ideas batted around are worth grappling with, much of the storytelling is bogged down by extra details and exposition, and hampered by its unwillingness to take a position on the topic. An interesting story, but unfortunately, rather uninterestingly told.

Funny, unique, and entirely inappropriate, Appropriate Behavior is a supremely satisfying and irreverent take on the New York rom-com.

Anchored by career-best performances from Long and Rossum, and a juicy script that bravely dives into the darkest parts of breaking up and making up, Comet is an original and inventive retelling of an age-old and universal truth.

Algorithms is a completely unique film, unlike any other documentary you might see this year, both for its content and its form.

If there’s any criticism to be levied, it’s just that we wanted to see more dance, which can’t quite be fully captured on film, only in person. Still, capturing Streb’s artistry, inspiration and thought processes behind her work makes it more than worthwhile.

Hellaware is a cynical, caustic, and often very funny send up of not only the current commercial art world but the entire borough of Brooklyn.

For a first time feature outing, Coldwater is a fine effort from Grashaw, and the setting feels fresh and new. It's an original take on a coming of age, young masculinity tale, but ultimately, it doesn't quite live up to all of its potential.

While the story lags and suffers in its attempt to adapt such a complicated internal narrative and personal struggle, the Smith brothers have created a truly beautiful and unique film that deserves to be seen; a creative accomplishment not only of filmmaking but of capturing this world.

The Batterered Bastards of Baseball is an entertaining celebration of the independent spirit and the love of the game.

Code Black manages to encapsulate so much of what is wrong with our health care system, but also to point out what’s right, and to posit an attitude shift not just about health care but about how we as a society treat those around us who are in pain or suffering. A heartbreaking but hopeful message within this important film.

This is avant-garde autobiographical filmmaking at its finest, and the results are stunningly beautiful, and achingly emotional within a lyrical and dreamlike aesthetic.

Potash marks time by the year until the last 30 minutes of the film, when the clock intertitles speed up with the many advancements in her situation, building to a breathless finish that will leave the viewer emotionally crushed and yet also hopeful and joyous.

The strength of Goodbye World is that it understands the foibles of these characters and lets them be as flawed as they are while they are also trying to survive not just the apocalypse but each other.

Heralding the arrival of Seth Fisher as a voice to watch, Blumenthal is much like its characters: a frankly funny and original piece of work.

It Felt Like Love, marks the arrival of a new crop of talent to watch, behind the camera and in front.

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.

A truly moving and edifying film, Rich Hill is the type of media object that could and should be put in a time capsule for future generations.

The Overnighters is starkly bleak and devastatingly humane, and an indelible American documentary.

Maidentrip ends up being not necessarily about the amazing feat that Dekker accomplished, it’s about finding one’s true self, and enjoying the ride along the way.

An unprecedented take on the holiday film, but not an entirely successful one.

The proximity, orientation, and monumental nature is what makes Levitated Mass the piece so powerful, and Levitated Mass the film not only captures that but puts those ideals forth as something culturally and socially important, something that happened when the mass met the masses.

That the structure consistently undermines its own storytelling is frustrating when the story to be told is a vital and interesting one.

That a documentary about economics could be so personally emotional and affecting is remarkable. And to learn from Reich in this film, as his students at Berkeley do, is a treat and a privilege.

After Tiller is not an important film just because of its political and cultural relevance, but because of its humane and compassionate approach to telling the stories of these doctors, their work and the women that they seek to help.

This film reveals not just how integral casting directors are to the creative process of filmmaking, but really how important they have been in shaping the history of American cinema.

An illuminating and often hilarious portrayal of the man and his myth, and those who surrounded him.

This rock doc rewrites punk history while telling an emotional story about an artist’s spirit and his faithful family.

While there’s drugs and sex and drinking and dancing, for sure, if one looks at I’m So Excited as a metaphor for the ills of society today and how we react to it, it becomes a much more poignant and biting satire of the state of our world, and how we as a people decide to react to it.

Dead Man’s Burden (the directorial debut of Jared Moshé) demonstrates just why film is important, simply by being beautiful. But beyond that, it’s also a moody, violent, classic, yet modern Western.

It’s an interesting hybrid of the relationship movie, mumbly indie and dark murder film, and the combination works here, for the most part.

While the film is hysterical, its real strength lies in the way it is able to deal with an issue like sexism in the industry and work it out in a funny, honest and very real way.

Short Term 12 is a roller coaster of every emotion, managing to be both heartwarming and heartrending at once.

The film's got one of the cleverest, and most satisfying ambiguous endings of any film all year.

Regardless of whether this is a film you can handle, it’s a perfect example of the kind of bold new vision that cinephiles should be championing.

It’s a fun, laugh-out-loud dark comedy, and proves that Alex Karpovsky and crew have made their mark.

A vibrant and vital tribute to a piece of recording and rock history that could have been lost to the ether, and Grohl packages the story of this little studio with a detailed celebration of the craft and skill necessary to this kind of recording, all with a killer soundtrack (which should go without saying).

Not only is not even a single character more than one-dimensional, but every line falls flatter than a witch dispatched with a Gatling gun.

The combination of compelling subject with an exciting and expert approach to documentary form achieves that transcendence you hope for in this genre: a melding of subject and text that is its own beast but also perfectly reflect each other.

Starlet is an interesting effort from indie filmmaker Sean Baker (this is his fourth feature), and signals the arrival of Dree Hemingway as one to watch.

Gayby isn't groundbreaking, but it's a fun romp whose characters grow on you after spending some time with them.

Ultimately, while 'Escape Fire' proposes numerous options for changing the system-- getting Medicare to cover healthy lifestyle counseling programs, incentivizing doctors to spend time with patients, and patients to empower their own health-- the one that is most poignant is that people should spend the time to take care of each other.

One of the best documentaries, and best films, of the year, it is required viewing for anyone with a desire for making their own world a better place, inspiring you to act up and fight back.

Simply put, Samsara tells the story of our world, but onscreen, it is so much more than that.

Ruby Sparks hits that sweet emotional spot much in the same way "Eternal Sunshine of the Spotless Mind" does. While you are at once charmed by the whimsy and romance, there's still a gut punch of emotional rawness just waiting to be delivered.

While “32 Pills” is a devastating depiction of the effect suicide has on families, it’s more so a heartfelt tribute to her sister’s work and the connection that they shared.

In between rehearsals, they discuss their lives, from facing the draft board, to their small hometowns, with a fascinating frankness.

Wildly entertaining, deeply humanitarian and fundamentally educational film.