With these two actors in command, Supernova doesn’t just dare to speak the name of a love between two deeply committed men facing an untenable situation. It shouts it from the rooftops.

It's a slow build to collapse, escaping the traditional trap of such supernatural suspense films in that both of them have secrets, and it's not the acts themselves but the deceits that have led them to this place.

All in all, Malcolm & Marie is less a coherent narrative than it is a beautified slideshow of ideas. These ideas are often compelling – but still, just ideas.

Whatever points The Little Things scores for a morally ambiguous ending are washed away in the hours it takes to get there.

It's a hodgepodge of wildly divergent narrative styles, from the mystical to the grisly and into the ridiculous.

Atlantis isn’t an easy film to watch, and it’s not meant to be. It’s an anti-war film without solutions, but what it clear is that Vasyanovych believes in humanity rebuilding from tragedy.

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.

Knapp's script is ultimately about how we are trapped in our own pasts, and even when they can seem like a pillow they can become an anchor. It's a soft, sad, yet insistent message that, even as the grass overtakes the baseball pitch where Adam practices, and even as the last windmills slow their spin, becomes a quiet voice of hope.

Preparations successfully trades narrative authority for a more provisional path, and much like its main character, remains wholly enigmatic.

Will good triumph over evil? Who cares, when there's this much chaotic creature fun to be had.

Rosi seeks to give glimpses of insight, to find emotional truths in the mother keening in the prison cell where her son died, and the courting couple who comment on the imminent rain but ignore the distant sound of machine gun fire. To fill in the contextual gaps would damage those truths, but to leave them inevitably will leave the audience questioning what's outside of his frame.

If Roger Ebert was right and cinema is a machine that generates empathy, then for all its uneven steps, No Man’s Land may worm its way into the hearts of Americans who see Mexico as a supporting character (or worse) in our grand narrative. For the rest of us, it’s a film whose reach exceeds its grasp.

An unsettling feeling hums through the film, and remains well after. Less of a jolt, then; call it a sustained current.

It's hard to say that any other edit would be better, because Brothers by Blood is one single, grey mass to the bone, an unfortunate use of a sterling cast and a book that deserves a more textured retelling.

Rică, like Acasă, My Home itself, meditates on how we define a life worth choosing.

It's delightfully frightful fun, a fine addition to the venerable and febrile tradition of Australian comedy-horror.

Aside from Segel’s grounding performance, the pleasures of Our Friend lie in some of its observational specifics about human behavior.

Some Kind of Heaven effortlessly blends humor and pathos into a memorable and at times unsettling study on where life’s trajectory might land us, and that is a concept that deserves more than mild contemplation.

While it’s great fun to watch regular people learn to express themselves after meeting their heroes, it’s disheartening to notice how much fame sits at the center of it all. The “fantasy” Rock Camp returns to isn’t just making music — it’s wealth and name recognition.

This is a more hardscrabble, beaten down version of Neeson’s iconic revengers than most of his action roles, with Hanson coming across as sympathetically appealing despite the cliched storyline.

McAulay has crafted a terse, bleak drama. It's reminiscent of the portrait of a corrupt male friendship in Super Dark Times, but with the added pressures of kinship and family. To describe Don't Tell a Soul as a story of toxic masculinity is both accurate but, in a time when every film with a flawed or unpleasant male an/protagonist gets that tag, almost glib. There's something rancid between the boys.

Through talking heads over archive materials, Pollard deftly explains why the tapes exist and how the inflated claims about national security were no excuse for them being recorded.

A film that is equal parts a celebration of a young woman’s life and a horrible document on her death, Finding Yingying brings humanity to the often stale true-crime subgenre while also giving us a unique perspective from someone on the outside of the American justice system.

The Reason I Jump will be revelatory for viewers who know little about the subject, and affirmative for caregivers and parents of children on the autism spectrum. What everyone, however, can take away from the film is the knowledge that just because someone is unexpressive, it doesn’t mean they are without thoughts and ideas; and just because someone’s bodily motions may appear odd and eccentric, it doesn’t mean they are possessed or unmanageable.

Through it all Philps keeps her camera low the better to represent the children’s as-yet-unformed POV, both literally and emotionally

The warmth of the film’s gaze has managed to take the political and make it all personal. It’s hard not to feel just as affected by the way these men have moved each other.

The Midnight Sky shines with Clooney’s deep and abiding belief in the human condition, in compassion, in … “redemption” is the wrong word, too Catholic. Rather, in connection, even if it is brief, even if it is seemingly one-sided.

It's the final act that takes that final twist of the knife, as the thriller becomes a grand guignol horror, yet still based within the world and the rules established in that grounded opening.