Monica Castillo

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.

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.

Holmes does an incredible job writing and directing this already action-packed narrative into an impressive documentary. He carefully weaves the crew’s interviews tightly together so that it seems like they’re almost talking among themselves, instead of in separate one-on-one interviews.

C’mon C’mon is the kind of movie that invites reflection. It’s not building towards a larger cinematic event or full of explosions. It’s a sincere drama about relationships, told from the perspectives of different members of one family.

[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.

The result is a dazzlingly imaginative movie about survival.

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.

Sticky racial politics aside, there are a few inspired moments in Madeline’s Madeline, and most of them belong to the fiercely talented Helena Howard.

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.

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.

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

The movie is potent with rage from end-to-end.

Aïnouz’s Invisible Life reflects the kind of love story we rarely see on-screen, and it’s a gem worth discovering for yourself.

Coupled with the talents of cinematographer Ludovica Isidori and music by Rob Rusli, Ford’s Test Pattern is an engrossing human drama, one that examines the intersections and inequalities between race, gender, and healthcare in a poignant and powerful way.

Midnight Family is both a compassionate portrait of a working-class family and a frightening ride through a broken healthcare system that risks the lives of both patients and providers like the Ochoa family.

Like “The Shining,” there are a number of different ways to interpret Jordan Peele’s excellent new horror movie, Us. Every image seems to be a clue for what’s about to happen or a stand-in for something outside the main story of a family in danger. Peele’s film, which he directed, wrote and produced, will likely reward audiences on multiple viewings, each visit revealing a new secret, showing you something you missed before in a new light.

The movie feels instructional without getting too preachy, taking time to explain various inequalities and barriers facing black Americans, typically in exchanges between father and daughter.

There’s a strange peace and acceptance in the film, painful as it is, that life did not work out in favor of the youthful hopes and dreams of its characters. Perhaps it’s because so many of us have had to mourn some sort of loss and move on with our lives like the family.

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.

Slow, steady, and with an exacting eye for detail, Lila Avilés’ The Chambermaid is a painfully astute observational drama about a young woman working in one of Mexico City’s posh hotels.

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.

As with Morgan Neville's documentary "Won't You Be My Neighbor?", the tears may flow freely due to nostalgia or from some subjects hitting too close to home, but A Beautiful Day in the Neighborhood fits as a companion piece. Where the documentary offers a more complex view of the man in the red sweater and tennis shoes, Heller’s movie is more about the cultural impression Rogers left behind.

The tightly wound human drama increases to a boiling point that simmers all the way to the credits.

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.

Harrill, who wrote and directed the film, isn’t as interested in the supernatural elements in the film as he is with the story’s few players. There’s a lot of room for emotions to breathe and wash over its characters, but never does it tip over into excess.

Hernández is the standout actor in the troupe of professionals and non-actors.

With unbelievable dialogue and a truncated timeline of events, Song Sung Blue ends up dabbling in “Walk Hard” territory, making the film seem silly even when the couple at the heart of this story only ever wanted to play the hits.

Mickey and the Bear is an impressive feature debut from Attanasio, one that shows a lot of promise in the way her movie explores characters and uncomfortable stories. When coupled with Morrone’s deft performance, Attanasio gives her lead character so much life and vibrancy.