Lovia Gyarkye

Dig deeper and Huesera reveals itself to be a wilier film — an astute study of desire and self-deception.

It’s in transporting viewers into the heart of this jungle, where the moths calibrate the ecosystem, that Nocturnes most its most compelling case for protecting these exquisite creatures and our planet.

Torres has created a weird and special little film, one that reflects his particular tastes and curiosities.

Marcel the Shell With Shoes On is a film with much to offer when it comes to lessons and laughs. It even handles its primary themes about loss, grief and community with humor and grace, an approach that, these days, seems especially hard to find.

The Inheritance, Ephraim Asili’s debut feature film, beautifully abandons genre to consider questions about community, art and Black liberation.

It’s easy to capture the frenzy of a new fling or the seductive meeting of two bodies; what’s more difficult, and what A Tale of Love and Desire does quite well, is study the inner tensions that accompany early sexual experiences — when the heart, mind and body refuse to be in sync — without becoming overly cerebral.

Fans of the genre might struggle to fully buy Bodies Bodies Bodies’ slasher intrigue, but it would be difficult to deny the strength of the performances.

With its stark portrayal of abuse, Palm Trees and Power Lines won’t be for everyone. But the director’s assured approach to a thorny topic, the way she needles at assumptions about grooming and the care with which she treats Lea’s story will linger with me for a long while.

Manning Walker does a fine job building a sense of dread and shifting tone without losing the story’s momentum.

The deft screenplay establishes the giddy energy coursing through Joy Ride, but it’s the performances from Ashley Park (Emily in Paris), Sherry Cola (Shortcomings), Oscar nominee Stephanie Hsu (Everything Everywhere All at Once) and Sabrina Wu that maintain the film’s anarchic pulse.

The frenetic editing might leave some viewers dizzy as they try to sort sober realities from sensational storytelling, but Grimonprez makes thrilling connections that should push viewers to pursue their own research.

Leitch strikes a balance of showmanship and mechanics. He teaches audiences to appreciate the number of people it takes to pull off a car crash or a human torch stunt. The action sequences in The Fall Guy vary, but each one offers a level of gripping precision.

Belly of the Beast does not reach for happy endings and is most absorbing in its thesis, which makes the stakes of this battle against human rights violations loud and clear.

One of the most absorbing parts of Alice, Darling is watching Alice, Sophie and Tess interact with each other throughout the weekend — to witness the frustrating moments of misunderstanding and the triumphant ones of clarity. Kendrick, Mosaku and Horn sustain a natural rapport, which makes investing in their friendship easy.

At its strongest, In Flames teases out how the patriarchy — a large, unruly force — fractures the relationship between mother and daughter.

Performances are what ultimately sets Bruiser apart as a debut and signal Warren’s potential as a director.

Where Going to Mars undoubtedly succeeds is in spotlighting the poet’s blazing personality, her unwavering confidence and her commitment to community without ever sacrificing herself.

The strengths of this slender film, which Tsou co-wrote with Baker, stem from its authentic rendition of daily life in a bustling metropolis.

With its focus on the news gathering process, Waves affirms the importance of independent and ethical reporting.

Harka darts between genre conventions: One minute it feels like a thriller, the next a heart-wrenching drama, another a psychological study. When the risky mix-and-match works — and sometimes it doesn’t — the results are emotionally potent. Nathan is fascinated by desperation, the kind that roots itself in the mind and soul. What lengths will a desperate person go to in order to survive? That is the essential, thrilling question coursing through Harka.

Instead of just depicting the myriad ways black women carry their communities, the movie goes further to explore how these women and black girls support each other in a world that often fails them.

The true pleasure of The Outside Story doesn’t come from its heartwarming message about community or its nostalgic rendering of a mask-less, pre-pandemic New York City, but from Brian Tyree Henry’s exceptional performance in his first big-screen lead role.

Of course, there are some unrealistic elements in F1, moments that might have sticklers raising an eyebrow, but the film doesn’t feel any less dramatic than the real thing.

Lennie’s is not the only growth rippling beneath the surface of The Sky Is Everywhere. Although the film contains elements of Decker’s signature directorial style, it also reflects her attempts to evolve on a slightly different path. She’s having fun, and it shows.

As Joyland heads toward its end, the film grows increasingly moving. Secrets and their attendant lies collapse under pressure. The weight of what’s left unsaid strangles interactions.

Missing succeeds at maintaining a propulsive, nail-biting atmosphere and overcoming the boredom of its conventional narrative beats by treating each tool — Gmail accounts, iPhone photos and company websites — as a deeply layered puzzle, one that gathers and offers more information than most people realize.

With her angular face and penetrating gaze, Mackey commands the screen, confidently shepherding us through Emily’s mercurial moods. Her eyes — darting nervously at one moment, squinting suspiciously at another — tells us what dialogue can’t.

When Foxx is onscreen with Parris, a certain kind of magic happens. The pair treat their characters’ verbal tussles like rappers in a cypher: Their metaphors are smooth and their egos huge.