Monica Castillo

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.

This version of La Llorona finds new emotional ground. It’s not just a creepy story, but a painful reflection of injustice.

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.

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.

Kempff immerses her audience into her character’s tortured headspace, like a tragic hall of mirrors that seems endless.

True to its word, Scary Stories to Tell in the Dark delivers an entrancing thriller that explores the power of narratives with a few screams to boot.

From the moment Selah is shown on her wicker chair throne off-campus, Selah and the Spades is impressively filled with style. Through the lens of cinematographer Jomo Fray, the film is vibrantly colorful yet moody, dripping with teen angst.

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

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.

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.

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.

Rich in personal archival footage and first-hand accounts. It’s as if every other clip in the movie is a peek into a bygone era.

The playful “will they or won’t they” dynamic has kept the series moving since Lara Jean first learned that Peter received her love letter. Even if it seems like it's wearing a bit thin by the events in Always and Forever, the affectionate energy between stars Condor and Centineo keeps the sparks flying.

With a knowing smile, she revisits her memories in one-on-one style interviews, looking directly at the camera—at us—to tell her story. A chorus of scholars, critics and friends join her to sing praises for her work that she’s too modest to bring up herself.

It’s one of those rare horror movies to leave you with good holiday cheer.

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.

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.

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.

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.

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.

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.

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.

Zombieland: Double Tap continues the original’s cheeky tone and irreverent humor, while it also acknowledges that it’s a series a little out of place and time with the current political age. But if all you’re looking for is “Shaun of the Dead,” but American, then this is the movie for you.

The Day Shall Come is greatest when skewering power and shining a light on grave legal overreach. That we can laugh about it is great, but it’s a sign of our own security, of how unlikely we feel that we would be targeted in the same way. For others, laughing at this movie may not be so easy.

Heading into the homestretch of this year’s election, Represent feels like a balm. A reminder that, win or lose, there’s something to be gained by reigniting people’s interest in civil engagement, especially at the local and state level.

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.

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.

Through cinematographer Mark Schwartzbard’s lens, The Photograph feels like a gentle throwback to romantic movies that left their audiences in good spirits as they filed out of the theater.