With elements of psychological terror, spiritual warfare, and even a dash of repressed sexual urges, Saint Maud is the kind of complicated, slippery horror that fans will talk about for years to come. This is the horror film most A24 titles wish they could be.

Misericordia feels like a big metaphysical shrug, sluggish to the point of lethargy.

Scorsese’s outsized presence in the documentary – its very framework built around his relationship to Powell and Pressburger – ends up jamming an immovable object between viewer and subject.

It's a gripping and wild film that can't be tamed.

It upholds deep respect for everything that makes a rom-com great: unabashed joy.

It is filled with unsettling imagery and a paranoiac atmosphere, and has a wicked slant on the horror genre’s obsession with burgeoning sexuality. You’re not likely to shake it anytime soon.

What Dennehy grasped was people - what made them tick. His performances were never one-note, but understood that joy, grief, and and oft-ignored emotions like resignation could all be contained with in a character. He was a big man, but he could keep his performances small, and so it's fitting that one of his final performances, Driveways, is so tiny and fragile that you'll feel like it can fit into your hands.

What it conveys, quite beautifully, is the essentialness in sharing your life with others, through joy and grief.

Birbiglia’s acute perspective will pertain to almost any industry in which a few are chosen to advance and the vast majority are left to wonder, “Why not me?”

Burton's gorgeously grim film (his sixth with Depp) is loyal to Sondheim's original, both in spirit and structure; it's dark and gothic and drenched in blood, and it forgoes excessive dialogue in the name of getting quickly to the next murky, malevolent, yet strangely forgettable tune.

The sexual chemistry between Hepburn and Grant, when set against Charade's tumultuous backdrop of shifting identities, makes this movie an enduring favorite.

A restless, nervy actor, Hardy seems to get a kick out of tying one hand behind his back. He dominated "The Dark Knight Rises" even with a modified ball gag obscuring most of his face. Here, locked behind a steeling wheel and a conceptual gimmick, he only has the upper half of his body to work with. No surprise to anybody who’s been paying attention: Half a Hardy adds up to a hell of a lot.

What’s great about this “documentary” – Cave gets a script credit alongside the directors, which kind of invalidates the whole notion of hands-off documentary filmmaking – is that it delves deeply into Cave’s notoriously fussy creative process without ever becoming stodgy or dull.

Neptune Frost can confidently take its place alongside other hallowed Afrofuturist films like Sun Ra's Space Is the Place (1974), The Last Angel of History (1996), and more recently Black Panther (2018).

Whether strutting like a bantam rooster for the Lord, fervently calling himself a “genuine Holy Ghost, Jesus-filled preaching machine,” or humbly acknowledging the folly of his actions, Duvall inhabits the character of Sonny, completely disappearing into the man's skin.

If you thought Hobbs and Shaw were a cute couple, you ain’t seen nothin’ yet; RRR is bromantic action nirvana.

A fine, near-seamless film that finally suffers slightly from an inability to wrap up its tale.

Once you've seen it all once I bet you'll wish you were watching "Groundhog Day" -- again.

For years it feels like the upcoming tequila shortage has been whispered about. But with so many celebrities announcing their own tequila brands, sometimes it’s hard to grasp the dire situation many tequila plants are facing. Juan Pablo González’s film Dos Estaciones centers around this very real crisis, a subtle reflection on the political and environmental pressures Mexican-owned tequila factories are facing.

Creed isn’t a complete TKO, but it goes all 12 rounds with vitality and flourish.

Becomes something of a rainswept Korean koan on both the nobility and futility of persistence in the face of obviously insurmountable odds.

This fresh adaptation shakes the dust off Jane Austen's early 19th-century novel of manners and gives it a good airing out. The result is a witty and lovesick skirmish of the sexes that exceeds all expectations.

This is a family story – of a time, a place, an event, a community – in all its rich and quiet nuance, with all the members, related by blood or by affection, given their space.

Still, for a film that is so much about the healing power of words expressed and feeling brought into the light of day, Monsieur is strangely reticent.

An amazing, bracing, funny, audacious, tender, and sobering piece of filmmaking. Few movies have ever dared to be this remorseless in their portraits of addiction.

This is a film about people who are stuck, not just by the structures that bind them, but by themselves. Transit is a brilliant and timely film that reminds us that we may all be currently in hell, and regret the folly of our lives, but perhaps we have each other.

The quiet respect Venus displays toward lions in winter, defanged though they may be, is rare enough; the film's respect for unfinessed lionesses-to-be is rarer still. Wherever they're going, no one here is going quietly.

Biller infuses the film with such style, such elegance, such joie de vivre, that I had a smile on my face for the whole running time.