Monica Castillo

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.

Ultimately, the threadbare quality of Constantin Werner’s screenplay cannot be smoothed over with gobs of CGI effects (impressive as some of these sequences look) and the star power of Milla Jovovich and Dave Bautista.

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 “Night Call” delivers in the thriller department of the narrative, it stumbles when trying to tackle the politics of the day.

Ad Vitam, which in Latin means “for life,” is at times brisk but narratively unclear, delivers its share of action, but not the characters to keep you emotionally invested.

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.

Los Frikis is a complicated movie with good intentions and the goal of sharing underreported stories from the island. I want that too, but I found Los Frikis too saccharine given its somber topic. Perhaps its harder edged critiques were softened for international audiences, but I would have preferred the film more thoroughly wrestle with the emotional, political, and social complexities at its center.

“Don’t Look Up” told a story while jackhammering its message, but “2073” plunges its audience right into police violence and terror with little thought in the sci-fi aspect of the narrative. It’s merely the aluminum foil to deliver the filmmaker’s thesis.

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

Jordan Weiss's feature debut, "Sweethearts," has its charming moments but feels uneven overall.

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.

Its uneven, heavy-handed approach to breakups and bad exes may quench some urge for revenge, but our main character’s heart isn’t in it.

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.

So, if the couple at the center of this romantic comedy lacks chemistry, can you at least enjoy the scenery or the retreat’s resort? Unfortunately, this is not “White Lotus.”

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.

Ultimately, “Azrael” lacks the energy or chills to terrify viewers.

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.