Taylor Gates

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.

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.

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.

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.

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.

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

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.

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.

There’s a lot to like about The Listener, with Thompson’s performance easily being the highlight. It’s a simple yet powerful story of finding connection and hope through the dark times.

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.

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

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.

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.

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

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

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.