Lena Wilson

In the documentary Free Chol Soo Lee, first-time doc directors Julie Ha and Eugene Yi use archival materials in an attempt to present their tragic hero in all three dimensions. Despite their efforts, Soo Lee feels just out of reach, but the story of his life remains as important as it is horrifying.

A stellar script and two standout performances from Jillian Bell and the sensational Natalie Morales round out this sweet little flick which, despite its intergalactic ambitions, doesn’t stray far from a rental house in wine country.

With a popular subject, and some downright corny visual devices, The Inventor doesn’t knock it out of the park as neatly as some of Gibney’s other works. Still, it’s a worthwhile and damn entertaining addition to the developing Elizabeth Holmes canon that makes up for its flaws with undeniable watchability.

This is the cinematic equivalent of eating a macaron, a bourgeois treat best enjoyed for its prettiness rather than its substance. But much like a good macaron, a well-done period romance – interesting, well-paced, relatively pro-woman – is a deceptively hard thing to make. This is one exquisite petit four.

It’s a well-made, gutsy film. So, if you can withstand the whole soul-crushing feature, you’ll probably be glad you stuck it out. If “glad” is an emotion you can still feel afterward.

Ito is undeniably brave, but this autobiographical doc could stand to be a bit less shiny.

Mamacruz is finely crafted, if not particularly challenging. This film clearly wants to wrestle with taboos, but that revolutionary spirit doesn’t go much further than the basic premise. With such important themes, this film deserves to be a bit more memorable than it ultimately is.

Honey Bunch is a work of art, but it won’t go down easily for everyone, and it’s sure to be divisive. Definitely watch it with a friend or loved one — whether you’re picking apart the plot holes or reveling in the reveal, you’ll need to debrief afterward.

Although the script could certainly use pruning, Suncoast balances intellect and emotion to deliver clever, memorable lines and a climax that will leave you weeping.

When all’s said and done, Wobble Palace is trying so hard you can’t help but like it.

With capable performances and a smart, character-focused script, this film balances its formal conventions with narrative nerve, ultimately making for a satisfying – if not show-stopping – watch.

This film might not blow you away, but it is unique, and it will make you laugh. And ultimately, that’s all you really need from an indie comedy.

As surely as a hiker extending her arms in the middle of an undulating lava field, Iceland has arrived, with a startling movie that’s every bit as idiosyncratic, homely, and dynamic as its country of origin.

Two Women is a titillating, vibrant send-up of societal expectations that goes down easy despite its brashness. (See: Violette’s farcical misinterpretation of the #MeToo hashtag.) It’s strongest when leaning hard into hedonism, but even a distracted narrative can’t bring this frothy flick down.

What saves this wallflower of a drama is its focus on the women’s friendship, which Mosaku and Horn sell with aplomb.

It feels as though [Loznitsa] has wrangled an entire uprising’s personality into bite-sized pieces.

“The Devil Made Me Do It” is an excellently spooky work of fiction. It would be even better if it privileged ghoulishness over gospel.

Though Skincare’s script lacks bite or balance, Elizabeth Banks gives a riveting lead performance with assistance from Lewis Pullman as her sketchy sidekick.

To set expectations, it’s best to think of My Fake Boyfriend as two movies. There’s the gay rom-com, focused on Andrew, that Pride month viewers have presumably tuned in for, and then there’s an almost “Black Mirror”-ish comedy, centered on Jake, about a meddling techie who gets caught up in his best friend’s life.

Thanks to slick screenwriting, stylish art direction, and a sparkling lead performance from Blake Lively, It Ends with Us tackles difficult subject matter with maturity, tenderness, and just a dash of whimsy.

This may be dark fodder for a family project, but the result is a visually striking meditation on obligation and complicity.

If you’d like to see the horror-action equivalent of an old metal rock musician lighting his electric guitar on fire and then playing it with his teeth, this is your movie.

It’s particularly sad that viewers can’t spend more time in Casey’s world, since newcomer Cobb is this film’s greatest asset.

“First Kill” takes the best part of its predecessor — its camp value — and dials things up to 11, delivering a movie that demands to be seen at rowdy theaters and sleepovers worldwide.

All in all, CRSHD is an ambitious film made with impressively few resources. Despite its writing pitfalls and shaggy aesthetic, this first feature shows off Cohn’s vision, wit, and resourcefulness.

Equal parts choppy and charming, “See You Yesterday” has trouble balancing quirk and melodrama.

As a film, Saturday Church could so much more, and its disheartening shyness keeps it from achieving greatness. A few choir boys short of a hallelujah, Saturday Church feels more like a subdued sermon.

While Our House occasionally loses sight of itself and could stand to take more risks, it offers a wholly original perspective on female friendship bolstered by precocious directorial acumen and a self-assured visuals.