Monica Castillo

Through clever cinematography, editing tricks, and a cast that’s fully committed to the director’s unnerving vision, Barker reimagines a classic horror idea for a new generation.

Marty: Life Is Short is an overdue appreciation of a performer who’s underestimated as a clown only because he makes being funny look so easy.

While there’s no recapturing the delightful surprise of the first, The Devil Wears Prada 2 is still a treat for fans of the original.

Ozon’s The Stranger keeps the spirit of its source material alive as a timeless warning in a modern world of stark polarization, ongoing colonialism, and plenty of Meursaults ignoring the suffering of others.

What could have easily been an overstuffed confluence of ideas – a haunted house, a ghost, a witch, a murder, oh my! – comes together so effectively because of McCarthy’s masterful command of what scares audiences.

Like last year’s crowd-pleasing documentary, “Sally,” “Spacewoman” is a heartwarming and inspiring story of a woman defying the odds, sexism, and workplace danger to make history.

Buffeted by both an incredible cast and crew, I Love Boosters is an unexpected celebration of friendship, community, and solidarity.

The coming-of-age story in “Sweetness” is less sugar than spice and very little nice.

Touzani’s “Calle Málaga” is a reminder to savor the days we have in the places and communities we hold dear.

The Moment is something different, a big swing into the mockumentary genre satirizing the pressures of pop stardom and the struggle for creative control. It doesn’t always work, but Charli xcx, as ever, throws a wild party.

It’s not an unenjoyable ride, but there’s a lingering sense that it could have been made a bit more fun and campy along the way.

Julia Jackman‘s beguiling feminist fairytale “100 Nights of Hero” is an enchanting tribute to the power of storytelling.

David Freyne’s charming afterlife comedy “Eternity” takes a simple premise of a person forced to choose between two prospective suitors and elaborates the concept with clever world-building and emotional relationship dynamics.

Yen Tan’s “All That We Love” is a quiet drama that’s surprisingly moving yet gentle, giving a well-known comedian a complex role to prove herself. And in this case, Margaret Cho defies expectations, bucking the caustic and bombastic persona we’ve grown used to seeing her bring to the screen for an on-screen performance that’s almost soft-spoken, a woman who genuinely feels lost among life’s many changes.

Condon’s “Kiss of the Spider Woman” is a reminder of what a great on-screen musical looks and feels like.

With Sachs’ painterly compositions and Whishaw’s deceptively effortless performance, “Peter Hujar’s Day” is a surprisingly beautiful and subtle tribute to the balancing act it takes to be a working artist.

While Mercedes Bryce Morgan’s newest film, “Bone Lake,” doesn’t necessarily break new gory ground in the category, it’s a fun, messed-up horror thriller playing with both familiar tropes and modern-day anxieties of love, sex, and finding out that someone has booked the same rental home for the weekend.

Doin’ It is more of a fling than one for the books, but it’s a fun one, nonetheless.

Director Raoul Peck, no stranger to connecting the past to the present as he did with “I Am Not Your Negro,” collaborates with the Orwell estate to retell the story behind the man who gave the world 1984 and Animal Farm and explore the themes Orwell illustrated in those works to current events to show how Orwell’s warnings have gone unheeded through the years. The result, “Orwell: 2+2=5,” is an ambitious work that is provocative but sometimes convoluted.

While “Eleanor the Great” never quite recovers from the moral issue at its center, Squibb’s lively performance makes it memorable.

Linklater not only pays his respects to Godard but also shares that adoration for his craft with his own audience.

Ultimately, the spirit of “Love, Brooklyn” is tenderness. It is both a love letter and a sympathy card: an acknowledgement that growing up sometimes means letting go, embracing the changes that come with time, and that loving someone does not always mean holding on to them.

Written and directed by Giovanni Tortorici, “Diciannove,” which means “nineteen” in Italian, plumbs the depths of young adulthood in that strange transition year, from the dizzying highs of feeling invincible on the dance floor to realizing just how much about the world you still have to learn.

[Costa's] outsider perspective gives no warmth of familiarity, only the startling realization of what they have accomplished so far and what remains ahead for a democracy trying to regain its footing.

Victor’s offbeat film may not resonate with everyone, but their approach to this story and its heavy topic is impressive. It feels refreshing to see characters discuss this taboo topic without making it the defining focus of their lives.

It may not meet the high watermark of the brothers’ first outing, but “Bring Her Back” is still quite the wild ride and shows the pair still have plenty of spooky tricks up their bloody sleeves.

Somehow, Yamanaka finds a balance for her complicated character to navigate her tantrums and tender moments.

With “The Moogai,” Bell wrestles with the horrors of the past and acknowledges the history of the Aboriginal children who never had a chance at a future.

Invention is a unique collaboration between director Stephens and actress Hernandez that melds fact, fiction, and commentary all in one tribute to an estranged family member. As the movie progresses, there are moments where reality and fiction blur together.

Conners’ first narrative feature is a rocky start but not without some promising notes.

In addition to Ozon’s impressive work as writer and director, much of the credit for “When Fall is Coming” belongs to the ensemble cast, each of whom brings a unique element to the mix that makes the story so engrossing.

Leonardo van Dijl’’s “Julie Keeps Quiet” is more about what is left unsaid than what’s spoken. Co-written by van Dijl and Ruth Becquart, the film is a quiet drama about keeping secrets buried within and what happens when details finally come to light.

The result is absolutely delicious, a svelte piece of entertainment that feels like a vintage yarn yet very much represents our own current anxieties, questions of sustaining trust in relationships and high-stake careers.

On Becoming a Guinea Fowl is an uncomfortable but entrancing watch, a tribute to shattering silence around family secrets and bucking tradition for the sake of empathy.

While “Cleaner” may not be one of the most refined action movies this year, it has a bit more to offer than most, especially when it comes to Campbell’s thoughtful direction and Ridley’s committed performance.

Co-written by Rankin, Nemati, and Ila Firouzabadi, “Universal Language” is delightfully absurdist, with little moments in each story that both make sense yet defy expectations.

Even if it falls short in some regards, “Kidnapping Inc.” is a splashy debut that commands your attention from start to finish.

Visually, Chenillo’s film doesn’t stand out, but it’s a pleasant enough story with a hopeful tone, celebrating each of Lucca’s victories, from holding on to the sides of the tub with both hands to kicking a ball for the first time to taking his first steps.

While “The Love Scam” isn’t breaking new rom-com ground, it sufficiently checks the expected boxes and features a formidable romantic pair with Folletto and Adriani.

Quiet yet moving, “The Room Next Door” is a heartfelt meditation on friendship, grief, and death.

From Cole's own words and interviews with his friends and loved ones, Peck writes a thorough narrative through the highs and lows of the photographer's life, including details about his childhood in South Africa and many years of homesickness abroad.

It’s no surprise that the cinematographer’s directorial feature debut is an alluring ghost story full of visual intrigue and surrealist imagery, giving him the space to showcase his strengths while working out some of the storytelling mechanics.

The Graduates is a reflective movie, an emotional story without telling you how to feel, only that for many people across the country, learning to live with grief can be just as important as planning for the future.

The film is not just a glossy period piece; it’s an emotional story about human resilience, one that’s sadly still too familiar almost a century later.

By anonymizing both the callers and the places featured in the documentary, “Intercepted” becomes a sobering portrait of the many millions of lives interrupted by this war.

Despite its shortcomings, “Saturday Night” works as a crowd pleaser for those who watched Chevy Chase take command of the Weekend Update desk, John Belushi tear up a stage with his intensity, or Dan Aykroyd and Gilda Radner crack up the audience with their absurd characters.

The Substance works as well as it does because of Moore’s unbridled performance as a woman struggling with self-hatred, society’s treatment of her, and a newfound dependency on a miracle drug.

This strange and creative approach to storytelling and family therapy is a small wonder to see in action.

Written and directed by Mikko Mäkelä, “Sebastian” plays like a cautionary tale about toxic ambition.

Tamahori and co-writer Shane Danielsen may have taken some historical liberties in loosely basing their script on true events, creating composite characters or writing in new figures. Still, if the goal of “The Convert” was to give a sense of New Zealand when most of its residents called it by its Māori name, Aotearoa, then it is successful.

Written by Jesse Orenshein, the script for “The Secret Art of Human Flight” is just as inventive as it is emotional.

Thankfully, “Queendom” is not a dull documentary on a fascinating subject.

I Used to Be Funny works through its themes in a thought-provoking way, structuring the story more like a mystery to be solved for its main character to move forward and touching on issues of consent and relationships along the way.

The goal of Power is to call police brutality into question, not put it on trial. It feels like a primer, a crash course for those who didn’t know and more food for thought for those who do know of its dangers and its harrowing legacy in this country.

Titely’s feature debut does an admirable job condensing the show into a powerful hour-and-change saga.

Vanicek’s first feature is an impressive debut, driven by an energetic fright, turning a worn-down apartment complex into a catacomb of spider webs, moving shadows and blocked escapes.

It took a second screening to better appreciate what the Zellners brought to the screen, but for some, that might not be enough to get past some of the movie’s weirder notes.

Right to the end, Música becomes more than just another bland romcom. It’s about finding love when living with a disability, it’s about finding music wherever it may be, and it’s about our connection to our culture and our family.

The Animal Kingdom moves swiftly between its characters’ everyday problems and the story’s fantastical elements in a magical realist way that quickly captivates its viewer.

Knowing Julio Torres’ previous work is the key to understanding his feature debut “Problemista,” which combines his love of design, the inner lives of toys, surrealism, and whimsy into a race against the clock, the immigration system, and the art scene in New York City.

The real gem of this documentary are the incredible first person accounts from those who were there.

This is not your typical “bank robbery gone wrong” kind of movie, nor does it follow the familiar beats of a Bonnie and Clyde-style “lovers on the lam” story. “Marmalade” is a strange mix of its own, launching the rom com criminal premise to thrilling heights.

Alex Schaad’s feature debut “Skin Deep” is a stripped-down sci-fi drama that takes its time to explore the social and romantic ramifications of its simple premise.

Pham Thien An’s contemplative drama “Inside the Yellow Cocoon Shell” blurs the line between surrealism and realism, faith and loss in a subdued search for purpose in the wake of a tragedy.

Ozon has a ball poking fun at a corrupt justice system that shuffles one criminal to the next crime-out-of-convenience and imagines how public opinion would fashion Madeleine into a feminist symbol.

Overall, Concrete Utopia is more ambitious than its execution, but nonetheless sustains its suspense with an emotional journey into the depths of what scarcity can do to humanity.

In his feature debut, writer and director Paris Zarcilla proves he is a master storyteller. He carefully builds his suspenseful tale with a horror twist layer-by-layer: showing us Joy’s hardships, establishing Grace’s rebellious phase, immersing us in their problems until what looks like divine intervention arrives that’s almost too good to be true (and it is).

The Disappearance of Shere Hite feels like an epitaph and a reclamation of her legacy.

Like his previous film, “Midnight Family,” Lorentzen is curious about what drives certain people to care more about others than themselves, making caregiving their line of career. His camera shows the intensity of the work behind roles most of society may take for granted.

Written and directed by Jackson, All Dirt Roads Taste of Salt is a poetic memoir of Mack’s life. Memories will appear one after another from her youngest days to her gray-haired years, non-sequentially, creating a winding road that bobs and weaves through mundane and life-defining moments alike.

Though the story that Lee reconstructs in Yellow Door: '90s Lo-fi Film Club is fascinating, it's given a limited visual presentation here, often using talking head-style interviews of the various members of the group.

This family isn’t picture perfect, but the way De Filippis tells their story is pretty flawless.

While Cassandro is not a winner, Williams and his cast put up enough of a show to make things interesting.

For a movie so driven by music, it’s unfortunate that its final number is somewhat of a mess, its lyrics weaker than the performances that led up to it. Tense situations quickly resolve themselves, and everyone in the makeshift group conveniently has a part to play. I only wish it felt more like music to my ears.

It’s not always clear what the movie is trying to say, but even its misfires are more interesting than most because of what Reeder and her stars bring to their characters.

Co-written by Seligman and Sennott, Bottoms is fun and silly in all its chaos. The two have created a ridiculous world where the overdramatic high school drama is not always supposed to make sense, but that’s part of the appeal.

It’s a film with a lot on its mind, a frenetic energy to make it to the end of the day, and a character we root for from start to finish.

Filmed in Central Appalachia—including the director's home state of West Virginia—King Coal moves beyond shallow impressions of the region with a real love for her neighbors and prodding questions about what it means to identify with an industry that has harmed and exploited generations of families.

The film is a history lesson, a poetic cry for justice, a testament to the Lakota Nation’s resilience and acknowledgment of the community’s loss—an incalculable loss that can never be fixed with underwhelming financial reparations—from the U.S. government’s 150-year betrayal of their people.

It’s as if Lim and fellow co-writers Cherry Chevapravatdumrong and Teresa Hsiao saw the antics in Malcolm D. Lee’s “Girls Trip” as a challenge to top. It’s safe to say the crew in Joy Ride do top the outrageous factor, but whether or not it’s as effective will depend on the viewer’s stomach for bawdy humor.

Run Rabbit Run is a solid, spooky tale without anything too flashy like a Babadook to haunt our dreams and memes but chilling enough to make us sit up in our chairs and scan the screen for the next sign of danger.

Oakley’s care and McEwen’s intense performance make Blue Jean one of this year’s most impressive movies. It deals with so much heartbreak without as many words; its pain is communicated through its somberly beautiful palette and performances.

The film explores the tender feelings of relationships at various stages, from budding playground crushes to adulthood’s alleged certainty. It’s the kind of nuanced movie that allows for self-reflection as well as entertainment, following two characters who illustrate how relationships—both fully realized and not—influence our lives.

The Starling Girl is so effective because it feels so specific to the character Parmet creates but remains accessible to people who haven’t shared her experience. The film is rich in detail, both in the sense of what it’s like growing up in a very religious community and what teenage rebellion looks like when just acting like an individual is enough to earn a stern talking to from an elder.

In this flavorful milieu of genres, Manzoor emerges with a sensibility that’s uniquely hers and a thrill to watch. Kansara, also making her feature debut, brings an energetic presence to the screen, matching Manzoor’s irreverent humor and sharp dialogue with pitch-perfect delivery.

Judy Blume Forever is a charming introduction to the author, her life story, and the inspirations behind a number of her books. Fan or not, this lovingly crafted tribute to the author feels as friendly and welcoming as Blume does greeting customers at her bookstore in Key West.

Sick of Myself works as well as it does due to Kujath Thorp’s charismatic performance.

As far as Scream sequels go, we’ve seen worse, but the wear and tear of the years are showing on Ghostface’s mask. The script is serviceable but surface-level, bringing up interesting ideas but never following though on them.

The Forger is constantly wrestling with its comedic impulses and the gravity of its time.

Chou’s Return to Seoul is an uneasy exploration of the concept of home and the heartache of losing it, following an imperfect heroine on her emotional journey to find a home in herself.

Centering the character’s experience is pivotal to making the movie so effective, but when it deviates from those visual guidelines, it feels like it loses a touch of its power. As a trained actor with a camera on him throughout the entirety of the film, Poikolainen shoulders the task with a stoic grace and a sardonic wit.

The scenarios of Hansen-Løve’s films can feel rarified and unique at first glance, yet they are painfully relatable on some level. They may be devoid of melodramatic showdowns, but there’s a quiet ferocity to them in the way they so deftly address our daily pain, insecurity, and loneliness, still resonating with us long after the movie’s over.

Kendrick’s performance is one of the strongest aspects of “Alice, Darling.” Under Nighy’s direction, they create an emotional portrait of someone on the verge of being lost to a warped distortion of love but who realizes they were surrounded by the real thing the entire time.

While this remix of "House Party" may leave some nostalgic for the original, it smartly doesn't try to copy the first film. However, it does stay true to the first version's celebration of friendship.

It may not come together as smoothly as the best feel-good movies of its kind, but there's an unwieldy charm to Joyride that makes the trip memorable.

Throughout To the End, there is a clear sense of urgency to the call for action.

The Swimmers is about a cause much bigger than the Olympics and is told on a personal scale that makes the issue accessible and unforgettable.

Similar to how Pixar’s Coco paid tribute to Mexican culture, Encanto holds many nods to its Colombian roots, from the use of flowers and animals specific to the regions to crafting songs that incorporated their respective countries’ musical palette.