Taylor Gates

Michael may not rewrite the musical biopic, but it does just enough to set itself apart and inject a bit of new life into the genre by leaning into the family drama at its core. The performances are top-tier across the board, with Valdi and Jackson immediately becoming stars to watch and Domingo and Long proving once again why they’re considered two of the best in the business. The level of craftsmanship — from the hair and makeup to the costumes and production design — is unmatched, helping to compensate for a weaker screenplay and inconsistent direction.

Ha-chan, Shake Your Booty! will likely gain criticism for its simplicity and earnestness, but I would argue those are the very things that make it so special and effective. It’s also an enormous triumph on a craft level, with stunning direction buoyed by equally gorgeous production design and cinematography. Throw in moving performances and beautiful choreography, and there’s no doubt you’ll be moved to get up and shake your booty, too.

By refusing to engage with messier material, Queen of Chess ends up being a rather straightforward, feel-good documentary, and that’s not necessarily a bad thing. Though it hits familiar biographical beats, Kennedy’s direction always keeps your attention and celebrates a remarkable woman whose amazing story deserves to be told.

With bold narrative choices enhanced by immersive cinematography and confident direction anchored by powerful breakthrough performances, Molly Manners’ directorial debut is a compelling showcase of emerging talent.

Ahn’s feature debut is ultimately a beautiful, sensitive love story showcasing the healing power of unexpected human connection.

It’s a tough watch, and it never presents easy answers, but there’s an undercurrent of hope that keeps it from ever being overly punishing and even a few moments of much-needed levity to balance out some of the bleakness.

Riveting without ever feeling sensationalized and moving without being saccharine, Middletown is a captivating tale that combines elements of true crime and coming-of-age stories and proves, once again, that Moss and McBaine are two of the most talented documentarians working today.

Not only will you get to revisit old favorites and feelings, but you’ll be taken to places you’ve never been before. Thus is the power of music and the magnificent, inimitable Hans Zimmer.

Each subject is so rich and nuanced that any single one of them could carry the documentary as its sole focus.

Brides is an original and bold coming-of-age story that features two star-making performances from its young talent.

The film memorializes André and keeps him from being forgotten — something he mentions multiple times throughout the film. Yet it also helps André come to terms with everything.

East of Wall thrives in the details, with Beecroft’s gritty, intimate direction and bold casting making it feel adjacent to a documentary.

Much like the setting it depicts, Sunfish (& Other Stories on Green Lake) is a quiet little gem with much more to it for people willing to take the time to look beneath the surface.

Folktales' earnest, sensitive approach is its superpower, showcasing universal challenges being processed in a specific and singular way.

The Wedding Banquet is a classic rom-com with modern touches that rarely ring false or feel heavyhanded. The entire ensemble is top-notch, allowing beloved actors like Gladstone and Yang to do something slightly different from their usual fare.

Peter Hujar’s Day’s thesis seems to be that it’s these normal days that add up to a life and there’s beauty and importance to be found in living, documenting, and reflecting on them for those willing to be patient. There’s a similar sentiment to be said of the film — it’s a rewarding one for those willing to sit with something slow and experimental.

Twinless is a masterfully crafted and thought-provoking dramedy that’s sure to leave you with much to grapple with. Beyond being thematically rich and carefully assembled, it’s also just a really good time.

While Ma’s script can feel broader than one might like when it comes to the core dynamic between Sara and Sumi, it thrives as a love story and character study and offers enough heartwarming moments of humor to make it well worth your while.

Empire Waist features a moving tribute to friendship dressed up in a bright, colorful package.

All Shall Be Well is a simple story overflowing with carefully crafted details that raises interesting and little-explored questions about gay rights, how we honor the dead, and how easily selfishness can seep in and poison us out of doing what we know is right.

Boong is a rich coming-of-age tale that touches on important issues without ever losing its playful tone or big heart.

I’ll Be Right There is a light, breezy way to spend a little over an hour and a half filled with some genuinely funny gags, top-notch dialogue, and solid performances.

Strange Darling is a magic trick, showing you its cards up front and leaving your mind to fill in the blanks while it subtly performs a sleight of hand.

There’s an edgier, grittier, and more thought-provoking movie hiding in here somewhere — about chasing adrenaline and the commodification of your body, safety, and existence — but what we get is still plenty entertaining.

Sing Sing feels like a true ensemble piece, giving all of its characters a chance to shine.

Chestnut is an effective and enjoyable if rather simple and slight coming-of-age movie about a unique time in a person’s life that few filmmakers have chosen to focus on.

This is the kind of film that has the power to change minds, hearts, and lives.

A Part of You is touching and effective without ever veering into emotionally manipulative or exploitative territory, which is not an easy feat when you’re dealing with this subject matter, especially in this genre