Norman Gidney

Roher is profoundly lucky to have been around when Navalny’s harrowing story needed to be told, and so are we.

Honk for Jesus, Save Your Soul is a wicked read of religion and a showcase of comic talent.

Benson and Moorhead have crafted yet another lo-fi sci-fi masterpiece.

Call Jane is dripping with amazing actors giving solid performances, but only Banks is given a chance at Oscar bait. Weaver’s Virginia is a sagacious activist with long hair, always reminding the group to keep the goal in mind, but we are cheated of heavier moments with her. What is here is wonderful, but it could have used a few moments of gravity.

This classically styled thriller plays on universal themes of alienation to deliver a punchy diversion with macabre tints and a love of the genre.

Emergency is a sharp, farcical comedy with a message.

I think what sets Rita Moreno: Just a Girl Who Decided to Go for It apart from other end-of-life docs is that this one is just so honest, so forthcoming, and so remarkably detailed. Mariem Pérez Riera has perfectly captured an American icon at the moment we need her the most.

Anchored by an iconic turn from Cobb, in her first lead role, and consistently daring choices from both star and director, We Are All Going to the World’s Fair is one hell of a trip.

Writer-director duo Albert Birney and star Kentucker Audley take us on a whimsical journey that bends timelines and genres, resulting in a consistently absurd, hilarious adventure.

Jockey is a solid piece of work that reflects on who we are and what we leave behind, as well as the prices we pay to get there.

Through a bracing pastiche of methods, we are taken on a harrowing journey that must have A-list directors, this very minute clamoring for option rights. It is beautiful and gripping; Flee is a must-see.

The real torpedo that sank this ship was that the source material wasn’t all that good, to begin with.

A kaleidoscopic look at a marginalized community, Queer Japan is required viewing for anyone in the community as well as their allies.

Delgado’s script is keenly aware of the world she is sharing. With the utmost humanity, each frame conveys the lives of those living in limbo, working for the mere hope of something better.

A good-natured comedy that, while not always funny, remains as sincere as The Book of Mormon. No, really, that is a massive compliment.

House of Cardin is a solid, encyclopedic documentary of one of the greatest designers of our time. He deserves to be celebrated, no question there. But this doc wants to inform rather than reveal, to celebrate rather than investigate. C’est la vie.

Ultimately affirming Feels Good Man is a fun, feel-good doc.

While it would be impossible to end A Thousand Cuts on a positive note, Diaz holds fast on her subject and Ressa’s determination to fight for what she believes in. This lights a path towards hope and the belief that truth and justice will ultimately prevail in a climate where lies spread faster than facts.

Horror movies usually aim to scare, entertain, and teach us. Amulet mostly does all three. Very nicely done.

Despite minor misgivings, it is a thoroughly engaging horror film with more on its mind than simply building to a climax. This is a poignant observation on aging and death that is supported by a trio of knockout performances and a female-heavy production.

With the endearing true story of Jack & Yaya and the power of documentary film, I am given hope that we will unite because of diversity.

Disclosure: Trans Lives on Screen not only leaves us with the hope that things will improve, but it also shows us how much better the industry is when everyone is included, represented, and respected. Here’s to a brighter, more diverse future for all trans actors.

What is most frustrating about 15 Years is just how much it gets right while so narrowly missing the mark.

The Garden Left Behind is a melancholy but strangely optimistic look at the struggles that some in the Trans community face every single day. It’s not a perfect film, but it is a movie with a message of tolerance and understanding. For that, it should be praised.

While the first act is slow but promising, the second and third acts don’t move any faster.

This masterful documentary from David France weaves high-stakes storytelling and investigative reporting to expose the ongoing situation, resulting in an unforgettable film.

Cronenberg has created a mind-bending trip of a movie with more to say than your average actioner and is supported by spectacular performances and make-up and practical effects that seal the deal. Brace yourself. Possessor is brilliant.

While informative, I never leaned forward and engaged with the events documented.

In every scene, Blank’s work shines as a writer, a director and as an actor. Her relentless charisma and authenticity tinged with wit carry every scene of the film, making it a joy to witness. This is the arrival of a talented voice in indie film.

Holding the entire movie together, Hall delivers an exceptional performance as a woman grieving, sliding in and out of reality. But her talents are eventually no match for a runtime that stretches things a bit and story beats that we have seen before.

Directors Cristina Costantini and Kareem Tabsch have created a heartwarming testament to a man whose singular message was one of love and inclusion.

Newnham and LeBrecht weave a narrative from multiple archival sources that capture the innocence, the subtle awakening, and ultimate determination of a small group of disenfranchised who suddenly realized that there was something to fight for.

It is quite a frothy mix of childish innocence and magical realism. It’s just nothing of major consequence.

Hardly any of The Painted Bird is what you would call pleasant. It is often a difficult watch at times but is a consistently engaging one.

Alexandre O. Philippe is a fine filmmaker and documentarian. Memory – The Origins of Alien, however, is a bit of a class on story structure and theory.

Holbrook is talented. There is no question about that. The guy wrote, directed, produced and cut Beloved Beast together. It’s just a shame that this strange yarn couldn’t be reduced to the essentials and given real power. Had we been offered less movie with more meaning, the impact would have been far greater.

Samantha Buck, Marie Schlingmann bring a light touch and a wonderful comedic tone to a story of one hell of a woman. This is a lighthearted comedy about resourceful females far ahead of their time.

Ms. Purple was an honest love note to the flawed amalgamation of dreams and nightmares that Angelenos call home. It is also another promising piece from Chon that has us on notice.

Before You Know It comes off as pharmaceutical-grade Hallmark Channel, which means that Utt and Tullock take the same familiar elements and end up finding some absolutely hilarious scenes that remind us why we love the movies, to begin with, just not consistently.

In the end, Raise Hell is the true celebration of the Texas spirit or rather, America on steroids as one commentator words it.

Everything culminates in strained dramatics and forced tension as the audience is sure to be scratching their heads in confusion.

I did not like MidSommar as much as I appreciated its audacity and the skill that clearly went into making it. This was a stunning work of art that embraced excess with only mostly positive results.

Somehow, we get a new Annabelle movie that develops its own personality and takes on the lore without rewriting or undoing anything that has already been shown in the other films.

This is innocuous, pop entertainment and, taken on those grounds, it does the job just fine.

St. Agatha is a fine thriller that is much better than you will expect it to be. Bousman guides a coherent and nimble narrative to shocking and satisfying builds.

Darkly comic, disturbing, and fun, Piercing is a vulgar little thriller that is one you watch without the one you love.

In the end, what’s left is yet another bad Amityville movie that fails to entertain or scare. Still, the house does look scary. Maybe if they try one more time…

The Nightingale is another triumph for Kent. Not one to aim for more crowd-pleasing material and palatable choices, she directs this visceral and moving revenge picture with a very sure hand.

Clemency is a staggering achievement in its portrayal of a story that we often ignore out of simple spite or ignorance that humanizes all angles with compassion.

The Hole In the Ground surprised me, took me on a fun ride, and returned me, almost unshaken. This was a brilliantly satisfying monster movie.

Wounds is a visceral, disturbing descent into the destruction of a man that hits all of the conventional horror notes with sadistic joy taking viewers on a ride straight to hell.

Not since Shaun of the Dead has there been such a consistently uproarious zombie movie.

As a bitter commentary on family, truth, trust, and above all, the religion, The Lodge is a serviceable mood piece that ends up leaving you feeling cold, and not in a good way.

Hala is a breath of fresh air that reminds us that as long as we live authentically, with compassion and understanding, the world around us is far easier to deal with.