Kyle Kohner

As Vic chauffeurs, these individuals through a racially divided city—Mikhanovsky delivers a profound statement that celebrates the connective tissue of humanity with honesty, sensitivity and an endearing heart.

With her touching portrait of naivete and the necessity of “hard times,” Miller-Costanzo imbues a potent storyline with bursts of humor and hues of wonder, thus striking a chord of authenticity and comforting resonance within the viewer.

It’s not only a realistic portrait of a conservative Middle America but a devastating portrayal of what happens when a family goes murderously awry.

Raw, improvised and indicative of Trump’s America, The Oath reminds viewers of the need for laughter despite the downtrodden insanity around us. Thankfully, Barinholtz resists the urge to lapse into cynicism, because at the end of the day people are more important than politics.

Aside from its phenomenal script and performances, Night Comes On delights with stunning visuals.

Hot Summer Nights is unconventionally amusing, spits in the face of its own flaws and somehow manages to impress by atmospherically rendering the emotions tied to the trappings of young adulthood. At it’s best, Hot Summer Nights is an admirable attempt at summertime antics void of a happy ending.

With suburban normalcy ultimately derailed by a suitably cynical, albeit humorous resolution, the final actions these neighbors take contribute to a far more meaningful message regarding the unsympathetic tendencies of humanity. Moreover, the measures taken by these feuding characters underlie the ruinous ways in which grief, hysteria and mental illness as a whole continue to be approached by society, especially by our own family members and neighbors.

Cardona’s brilliance emanates here. His performance is contingent on facial expressions and physical tics rather than words. His alluring face is juxtaposed by painful weariness, sullen eyes and a sense of humanity like no other.

Tupac’s legacy deserved a better story, and hopefully, one day he will be rewarded with one.

The House of Tomorrow is a charmer that will incite a smile from ear-to-ear with each and every scene brimming with hope in the face of downtrodden situations and a world that tells you no.

With a far more complex exploration of the internal world of a child, Seno validates her standing as a unique and rising voice within the film industry, as Nervous Translation galvanizes her ability to devise an innocent scope of complete awe in an attempt to come to terms with the crumbling yet beautiful world around us.

Moussaoui’s underwhelming use of fractured storytelling technique not only dilutes any organic narrative development, but he completely jeopardizes the impactful nature of the film’s potentially poignant message: how we as humans are in one way or another connected to each other.

Although the majority of Beirut proves to be quite the task to watch, it’s still rather refreshing to witness Hamm continue to come into his own as a genuine A-list talent.

The Devil and Father Amorth will polarize audiences, and while a good portion of Friedkin’s documentary will fail to change anyone’s minds, it will keep viewers gravitated to its sales pitch—the exorcism itself.

Beneath the film’s grunge and characteristically dingy aura, the daring Potrykus proves once again why he is one of the most promising young filmmakers and provocateurs around, as he wields weighty commentary, an extremely limited setting and a darkly comedic turn of events to his advantage. Relaxer is Potrykus’ most discomforting and unforgettable experience to date.

While The Ritual is an incredibly shot and confident horror picture that does manage to crank up the tension for the first hour, an unfulfilling finale and subpar execution of commonplace motifs add up to a forgettable experience.

Although the film depicts a fledgling psychopath salvaging roadkill with his bare hands, soaking them in acid in order to collect their bones and finding himself flirting with murderous intentions on several occasions, Meyers’ drama is paradoxically humane and affecting — a direction few thought was possible when deliberating the essence of a real-life monster.

Lucky is a film perfectly nuanced for Stanton but executed in its full potential by none other — it’s a sobering portrait dedicated to one of cinema’s greatest actors.

In only his second film, it’s evident that Chon possesses a forcible voice for storytelling and a keen eye for character building.

Brigsby Bear is easily the biggest surprise film of the year and is worth every laugh and tear that it brings.