Tomris Laffly

You can’t help but wish that this edition of the story was a bit more… groundbreaking.

Because Apex is only interested in surface-level backstory about the characters, the pursuit between the duo can feel repetitive on occasion. Then again, prioritizing white-knuckle thrills over excessive emotion and explaining is one of the most refreshing qualities of this gorgeously shot picture about survival and fortitude.

A movie that will soothe the hearts of every single female journalist who, on various occasions, felt pushed to the periphery while bearded dudes in plaid tossed around their self-satisfied takes, “Mile End Kicks” instantly offers a breath of fresh air about what it means to pursue one’s passion for writing about the arts while being a woman.

The Bride! is more a film to feel than to explain.

For Worse might be a tiny step among its kind, but it still feels like a leap for its thoughtful auteur, ultimately celebrating new beginnings as an ageless milestone.

It’s hard to feel freely when you are constantly and loudly reminded by every aspect of the movie that you are supposed to feel things.

The Friend’s House Is Here is defined not by the many constraints that it battled during its production, but by the artistic vision of the resulting work.

It’s the kind of unapologetically local love letter to the Big Apple and its less-illustrious denizens that New York deserves.

A film that mines reserves of tenderness in young female angst and cluelessness with loving empathy.

An optimistic film that feels truthful about aging, even if it doesn’t say anything we haven’t heard before.

Sadly, the film doesn’t live up to its charming premise, spending most of its runtime chasing its own tail with pointless jokes and dog-related puns that are only mildly amusing, along with an undercooked love story that doesn’t know how to steal our hearts.

While there is nothing hilarious about these topics, Eliassi and Coexistence, My Ass do the impossible and deliver radical ideas through humor. Rarely has comedy felt this serious and urgent.

A handsome follow-up that both seizes the predecessor’s sense of heartbreak (albeit at a lesser degree) and dials up its chills by transposing them onto an icy, blood-soaked youth camp in the Rocky Mountains.

Sometimes, we should be made uncomfortable. And that is, in the end, what “After the Hunt” attempts and mostly succeeds in.

What One of Those Days When Hemme Dies lacks in budgetary means, it often makes up through the sharp intentions of Fıratoğlu, a thoughtful filmmaker we will hear from again on the international festival circuit.

The film’s tonal inconsistencies hurt its impossibly talented co-leads considerably.

Despite the nostalgic glow that prettily coddles the film, there is a delectably unsubtle passing-the-baton theme that runs through the richly populated affair.

Rest assured, finding out whether an on-screen couple have what it takes has rarely felt this cutting, and, ultimately, this rewarding.

Elegiac in tone, melancholic in style, and documentarian in spirit, Simpson thoughtfully captures the micro preoccupations of the film’s characters, against the understatedly political macro backdrop of our shifting and worsening climate.

While The President’s Cake mostly plays like a genial fairy tale, with superbly balanced humor and drama, Hadi's still unsparing about the ills of patriarchal society.

There are no grand moments, enormous revelations or manipulatively overpowering scores in his delicately constructed and produced film — it is as narratively straightforward as movies come.

Ramsay lets her film, and her characters, exhale just a little. But there is a lot of earned wisdom and lived-in pain in that exhale, and in the entirety of Ramsay’s masterwork.

Tsang has made a small, affecting, and studiously minimalist film here, with lived-in and tactile visual and design elements signaling a major auteur in the making.

The Wedding Banquet serves its richest dish through the shared love amongst its characters, even inspiring a few organically shed tears during compassionate, wisely written moments between Chris and Ja-Young, especially Angela and May.

There doesn’t seem to be a single original bone in this film’s body that gives you a parade of half-baked comedic scenes braided with a trite thriller and family mystery.

With a tender spirit, gorgeous Tulum locations, and a poetic, dialogue-driven calmness, Pritzker’s “Ex-Husbands” is a surprising delight, astute and humorous about humans that both lived a long life and are just starting out their adventure. It’s a movie that looks back and moves forward, with grace and wisdom.

This is a smart and emotionally immersive comfort movie where you get the happy with a side of sad in the same way that the messiness of our own lives often unfolds, with laughter and tears served as a pair in a package deal.

Gordon and Lerman are two committed performers with excellent chemistry and comic timing during these scenes, and much of Gordon’s physical work as the crazy soon-to-be-ex-girlfriend is genuinely impressive and funny. But the seams of Brooks’ writing show often, becoming impossible to ignore.