Mae Abdulbaki

Self Reliance doesn’t take itself too seriously, and it’s exactly the kind of directorial debut one would expect from Johnson — and he certainly delivers a wild, energetic, funny story that still works despite a lukewarm ending.

There is a lot of love put into the making of this film and it shows in every single scene. It’s one of the best romantic comedies in a while, and not one to miss.

Talk to Me is an assured directorial debut, serving up plenty of terror, gore, and emotional beats in a story that is well-developed and carefully crafted. Audiences will be hooked to the screen, impatiently awaiting what comes next in this unsettling, thrilling horror.

It’s a tender drama and one that focuses on its characters in interesting, thoughtful ways.

Flamin’ Hot is not only entertaining, but feels like a warm hug. It’s sentimental enough, but doesn’t overstay its welcome. Longoria has ultimately crafted a sweet, funny, and bright movie that will surely have viewers looking up Montañez on Google after the film ends.

The film is infectiously exuberant, with kinetic energy that never lets up. Paired with its lighthearted tone, Honor Among Thieves is a wildly good time at the movies.

The cast’s chemistry uplifts this film and makes certain moments all the more enjoyable. Everyone is clearly having a great time, and it shows in every scene. While the film probably won’t be remembered after audiences leave the theater, Champions is a lighthearted, feel-good sports movie that does exactly what it sets out to accomplish. It doesn’t do anything out of the norm, but it is a solid effort from Farrelly and Rizzo that will certainly boost one’s mood after watching.

Despite a stellar cast, Marlowe doesn’t rise to the occasion, stumbling along without ever finding its footing.

The film is earnest and full of yearning and intimacy, elevated by the performances of its lead actors who, even in the film’s most abrupt moments, have so much chemistry to keep audiences watching.

The performance factor alone is fantastic and engaging. Boylan’s own performance is convincing and occasionally even emotional, but her acting talents unfortunately can’t overcome the issues that stem from the writing.

Bolstered by fabulous performances by its lead cast, Passages delicately and intimately explores a love affair that goes awry because of one person’s decisions.

While the film isn’t overly ambitious or deep, it’s an energetic, occasionally thoughtful and honest film about the lack of honesty and its effects on relationships.

Powered by an incredible, devoted performance from Jonathan Majors, Magazine Dreams stumbles in its last act and repeats itself too often, but it is gripping and intense all the same.

The overall momentum stalls and prevents A Lot of Nothing from sticking its landing, but it's a promising debut from McRae, who has a strong grasp with regards to maintaining much of the film's tension through dialogue alone.

With an excellent ensemble cast and intense character dynamics, Knock at the Cabin is a high-stakes horror that delights in the doubt and confusion that arises.

It’s a fascinating story to balance, and though it doesn’t always work, Finley really runs with the concept and its various themes. It’s safe to say there’s never a dull moment in the film, and it isn’t predictable in terms of what comes next.

Emotionally effective and often quite tender, the film boasts understated, powerful performances from Emilia Jones and Scoot McNairy.

As hypnotic as Eileen is, the film ultimately falls short. Its final moments suggest that it could have become a completely different film than what was initially presented. Had there been enough time to flesh out the story and build up the tension, the final Rebecca twist would have worked a lot better.

It’s meant to shock and disgust — and it does — but while Infinity Pool starts off interestingly enough, its take on power, corruption, and privilege only goes so far.

Cat Person is not as compelling as it perhaps aims to be and, though there are great — and even uncomfortable — moments in the film, it doesn’t justify its tonal shifts or its feature length.

Flora and Son is energetic, easygoing, and charming. With a great cast, lovely musical numbers, and a stupendous lead performance by Hewson, Carney doesn’t disappoint.

All Dirt Roads Taste of Salt’s non-linear approach requires patience and its character development is a bit thin, but the film is stunning, thought-provoking, and poignant, with each frame lovingly executed.

Bolstered by a fantastic lead performance by Priya Kansara, the film is an entertaining ride, one that is filled with love of sisterhood and energetic chaos.

It’s soulful, tender — an understated triumph. Song’s directing and writing is confident, bringing so much heart and nuance to a simple story that is inspiring, delicate, and evocative.

Domont’s feature is occasionally uncomfortable to watch because of how things unravel, but it’s unnerving and utterly heart-pounding in all the best ways. An exceptionally strong feature debut from Domont.

Anchored by strong performances from Daisy Ridley and Dave Merheje, the film has pacing issues, but it's emotionally resonant, humorous, and relatable.

Watching Tár is akin to listening to a symphony orchestra — it's moving, passionate, and will leave one wanting more long after the lights come up.

A Man Called Otto aims to be a crowd-pleasing, heartwarming film, and, despite its many flaws and speed bumps, is a success on that front.