Taylor Gates

Eisenberg knocks it out of the park and proves he is a triple threat to be reckoned with, with solid writing, confident directing, and stellar acting — even if, at the end of the day, the film really does belong to Culkin.

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

Despite not ending on its strongest note, Daughters is still a highly effective documentary overall. Working with subjects this young and topics this sensitive can be challenging, and you always run the risk of feeling exploitative, but Daughters handles both with compassion and care.

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.

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.

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

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.

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

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.

The film manages to capture the specific way queer communities communicate with one another and the unique chemistry between them in a way few others have.

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.

While Copa 71 can feel a little surface-level at times, it’s still an enjoyable watch and a solid introduction to an event very few remember.

The film has all the makings of something fresh and elevated, but it ultimately establishes itself as a solid yet still somewhat stereotypical teen romance with sparks of more interesting, daring fare sprinkled throughout.

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.

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.

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.

Ibelin is an effective and creative documentary about the power of online friendships.

The Graduates is a compelling drama with incredible performances across the board and confident direction.

Not only is this documentary a microcosm of the country at large, reflecting real life in the way that charisma and the ability to fire up the masses can make all the difference when it comes to politics, but it also gives us a sense of what the future can look like.

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.

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.

It’s a sophisticated commentary wrapped up in a beer-soaked package and is sure to linger with you long after the credits roll.

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

If there’s one thing we can take away from Will & Harper, it’s that transitioning and allyship can both save lives.

A true dramedy, it’s as raw and painful as it is refreshing and cathartic. Though nothing is tied up in a neat little bow at the end, you’re left with an undeniable feeling of hopefulness. You’re sure to laugh, and there’s a good chance you’ll shed a few tears, too.

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.

While there may be one or two too many callbacks to the first film and a couple of unnecessary subplots, the sequel doesn’t rely entirely on nostalgia, nor does it strip away everything that made the original great. Maybe it’s not a perfect balance, but it’s pretty close to it. I don’t think I’ll be quoting this one as frequently as the first, but I certainly see myself grabbing some popcorn and peanut M&M’s for a pretty epic double-feature in the future.

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