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.

The actors do well working in Manuel’s specific directing style — one that’s characterized by unhurried dialogue — it’s just that the style doesn’t always resonate, tamping some of its power instead of enhancing it. Filipiñana is a feast for the eyes, but you’ll likely still leave hungry due to the punishingly slow pacing.

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.

Measures for a Funeral is brimming with style and painstakingly researched, but the fact Bohdanowicz seems to insist on showcasing every tiny detail she discovered at the sacrifice of making a leaner, more focused, and riveting story causes a dissonance that makes it feel dead on arrival.

The sluggish pacing and lack of specific characterization make it feel longer than its hour-and-a-half runtime, though the strong performances and beautiful cinematography are just enough to keep it from ever becoming a total slog.

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.

Though the themes in Atropia are more subtle than one might hope and expect from a war satire, and the film could benefit from more focus, Hailey Gates successfully draws intriguing parallels between war and the entertainment industry that will have you looking at both in a whole new light.

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.

Magic Farm starts out promising, and there’s a lot to like when it comes to its performances and visuals, but the underbaked plot keeps it from being fully satisfying.

Though there are shocking moments, it mostly plays things safe, refusing to fully embrace the intensity it occasionally flirts with.

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.

Most people are likely clicking on this film for Foxx and Diaz, and they, too, do their best with what they’re given, but the dull, exposition-heavy script never gives them the chance to flex any of their dramatic muscles, and they rarely get to be truly funny either.

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.

While her first outing as a writer-director is a mixed bag, Kravitz shows undeniable potential to join the ranks of performers who are equally exciting behind the camera as in front of it.

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.

The characters somehow behave both flatly and erratically, driving a cliché plot that manages to be both overly simplistic and confusing. Take care of your skin — and sanity — by sitting this one out.

Borderlands is a fun ride, but a bloated cast and breakneck pacing don’t allow it to reach its full potential.

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.

Last Summer’s solid performances elevate it, but it never reaches the heights it could by digging more deeply into the themes and more firmly grounding us in the characters and their emotions.

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.

Despite a strong central performance from Sasha Luss, Latency works against its own concept and falls into cliché thriller tropes.

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

Prom Dates mostly blends into the countless other films that cover the same subject matter, but there are a few moments here and there that elevate it to something more. While the characters are thinly drawn and their arcs underbaked, the comedy is there for the most part.

The Contestant is riveting, but it stops short of the type of analysis that would take it to the next level.

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.

A tense atmosphere and great acting make up for some lackluster characterization choices.

Shirley is a relatively straightforward biopic, but it’s worth the watch to see Regina King’s beautiful performance that feels like an ode to the trailblazing woman.

Despite its sometimes rocky editing and crowded ensemble, First Time Female Director does what it sets out to do: make you laugh and laugh hard.

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.

There’s a fascinating and beautiful true story at the core of Ordinary Angels, but the bland way it’s told does it a massive disservice.

Though Suncoast features wonderful performances, its clichés dim its impact.

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.

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

There’s a lot to like about Seeking Mavis Beacon, and the documentary is at its best when it feels like a celebration and tribute to the technology and its elusive cover model. Overwhelming and chaotic editing choices, however, detract from its overall impact, and what makes the film authentic and special threatens to get drowned out.

Grounded by exceptional performance across the board, a rich and funny script, and confident direction, Lisa Frankenstein is a delightful film. It doesn’t break a lot of new ground (unless you count the many graves that are dug up throughout its 101-minute runtime), but it does manage to frequently subvert expectations of horror, comedy, and romance movies alike. All-in-all, it’s a bloody good time.

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

It’s never as deep as it thinks it is (or has the potential to be), but as long as you go in simply wanting a nasty, gorgeous, unhinged ride, you’ll leave the rollercoaster satisfied — and probably a little nauseous, too.

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.

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.

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.

While it’s a cozy and enjoyable enough watch with decent performances, Good Grief is too middling to be memorable, sticking to an overly sentimental tone despite its best moments having more edge and bite to them.

Elkann is a visionary with the ability to create specific, gorgeous worlds and unique characters, especially when it focuses on the relationship between Pupa and Gianna. The themes that arise during the film are riveting, but it stops short of fully diving into them and their implications.

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

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

The film is lovingly put together and expertly crafted, making for a gorgeous tribute to Lee.

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.

There are several interesting ideas and stories floating around Eric LaRue, but Shannon can’t seem to decide which ones to focus on. While there are some genuinely fantastic, inspired moments, they frustratingly never quite come together, leading to a baffling viewing experience. Hopefully, Greer will get another chance in the spotlight of a more worthy film.

It feels stuck in a strange, bland limbo, unsure of what it wants to lean into and truly be. For a movie all about identities, this film lacks one.