I Am: Celine Dion is a piercing portrayal that doesn't shy away from making audiences feel like a fly on the wall

War is hell and for a little over two and a half hours, All Quiet on the Western Front displays its ghastly horrors without ever venturing into voyeuristic consumption, opting instead to unsettle its audience with bleak realities and sobering truths.

The editing in Super/Man is perfectly handled, taking what could’ve been a straightforward documentary and turning a life into a collection of what makes us who we are—both the good and the bad.

It's an excellent, if imperfect, crime thriller, capably indicting our era with the same insight that Kurosawa brought to the internet's potential to isolate in Pulse.

That’s the beauty of what Carney has created here, a film that wraps you in and absorbs you with its loveliness and charm, to a point that you don’t want to leave its presence.

In every piercing stare, you can see Terry’s determination and drive just as you do brief flashes of overwhelming despair at the depravity that surrounds him. It becomes surprisingly emotionally impactful at key moments, all of which Pierre plays perfectly. For all the restraint both actor and character embody, the joy of the film comes in how you see the righteous fury growing inside him. It's just waiting to burst free to set things right in a world gone awry.

The film masterfully balances comedy and crime-solving, showcasing the chemistry and wit of its lead characters.

An immensely enjoyable treat, The Pez Outlaw is cleverly filmed with the highlight being Glew playing himself and seemingly having the time of his life. With references to Citizen Kane and Charlie and the Chocolate Factory, the whimsy is part of the effortless charm of the doc, and Steve and Kathy bring the heart.

Whether you can stomach it enough to make it all the way will depend on the viewer, but Talk To Me has plenty that promises to capture the souls of horror sickos looking for a sinister spectacle.

Occupied City starts off strong, but after the intermission, you can feel how aimless the documentary is at times, with the final act feeling almost excruciatingly long.

There is much that could easily lose some people when they behold elements of its grand design, but for those willing to get on its wavelength, you’re in for a treat as beautiful to look at as it is unexpectedly haunting.

When it focuses specifically on the scares, Hokum is an effectively disconcerting film that relies on time-honored basics to really get under the viewer’s skin.

Benson and Moorhead have always been able to make the most of small budgets and confined spaces. Nevertheless, Something in the Dirt is the most minimalist project they ever created. Yet Something in the Dirt might be their most ambitious movie, as they dedicate two hours to an intimate study of meaning as the main motor of human life.

Without going too far into detail, as the sudden swerve it makes is too delightful to dare give away, it takes a plunge into its own distinctly offbeat, frequently absurd, and ultimately melancholic vision.

Boys Go to Jupiter is the type of animated feature we need more of: experimental, unusual, yet fun and familiar.

All in all, Incredible but True remains an unmissable movie for Dupieux fans. And for those worried about getting lost in the filmmaker’s passion for nonsense, the movie might be his most accessible work yet.

Williams’ story of coming out and acceptance is both riveting and often touching, and Bernal gives quite possibly his best performance in this beautiful story of finding yourself and becoming who you were always supposed to be.

There's something to be missed from the first due to the predictability of his path in this iteration, but there are enough surprises and novelties (usually violent) to provoke delight and get adrenaline pumping.

As your run-of-the-mill newsroom thriller, September 5 proves to be a riveting watch with two stand-out performances from Sarsgaard and Magaro and compelling direction from Fehlbaum.

Perry’s work in Pavements is one of the wildest and unhinged approaches to a music documentary ever made, but the fact that he pulls it all together into something that isn’t a mess is a testament to Perry’s craft.

The Woman King is a film that has the confidence to be completely sincere in both the sharp moments of humor and the stunning battle sequences. The way it all grapples with history is subsequently clear-eyed, making some closing statements feel especially resonant. It is a film that ensures there is no denying Prince-Bythewood's dedication as a director and visual artist who can take on any cinematic challenge with ease.

While the narrative has its cracks, the visual aesthetic and appearance of Asteroid City are completely flawless.

With its strong character work that gets interwoven with a striking story of sabotage, How to Blow Up a Pipeline is a riveting tapestry of the plight facing the modern climate justice movement.

There’s so much joy in this telling, so much sophistication of craft on display, and such a delightful ode to this exemplary era of creativity, that it seems downright churlish to hold back for the sake of performative reticence.

Audiard, Mysius and Sciamma, along with their fantastic cast, create an enchanting and seductive story told through an intimate group of relationships. This beautiful and simple story of young love and finding one's self through love is one of the most romantic and sexiest films of 2022 so far.

Mars Express finds deeper truths that are as tragic as they are transcendent. This makes it a sci-fi tapestry not just worth getting lost in, but one that is deeply human as well. What a painful joy it is.

Altogether, The Fire Inside is a strong directorial debut for Rachel Morrison, boasting excellent performances from Ryan Destiny and Brian Tyree Henry.

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.

It isn't swayed by anything other than the truth as it crafts an uncompromising and steadfast deconstruction of whom the artist the world knew as XXXTentacion actually was. Moving beyond the headlines, it emerges as an absolutely essential piece of filmmaking.

With fun production elements, a goofy storyline, discordant yet effective sound design, and enough oddness to keep things captivating, traversing through the world of OBEX makes for quite an entertaining journey.

Barnard smoothly dovetails the lighter moments with the dark and makes sure to not skirt the traumatic moments in Ali and Ava’s marriages. Akhtar and Rushbrook handle these intense character revelations like pros, never feeling the need to veer into melodrama.

Emily the Criminal is an excellent example of how to make an effective thriller on a smaller scale.

The Naked Gun's joke-per-minute ratio is truly astounding, and the fact that so many of them hit as well as they do makes that even more impressive. For goodness' sake, even the credits have jokes in them!

The Order is a solid crime drama that sometimes hits too close to home, but that's what makes it so terrifying.

My Dead Friend Zoe opens wounds and douses them in peroxide — the immediate sensation stings, but eventually cleanses and soothes.

Both in terms of the way he lays out all the information and the craft of the filmmaking itself, Kohn shows greater patience in drawing everything out. That it teeters on the edge of the grim acknowledgment that even its truths may not be enough to change our perception of this industry and the power it holds makes it all the more enthralling to behold.

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.

It may not necessarily reinvent the wheel as far as modern-day technological thrillers go, and only time will tell how the movie will age. But Influencers is still a slick and stylish sequel that exemplifies everything that made the first movie such a fun watch and then some.

Thought-provoking and poignant, In Flames isn’t an easy conversation, but it is a necessary one that rests its narrative on the pervasive gaze of patriarchal oppression.

On the heels of Girl on the Third Floor and Jakob’s Wife, Stevens continues to prove that he is one of the best indie horror directors to emerge into the mainstream. He has a deft understanding of the genre and is keenly aware of when to dole out jumpscares, visual cues, and just the right amount of gore to delight horror lovers who favor psychological thrillers just as much as bloody horror.

With eye-popping animation, a fresh story that challenges tropes, and an energetic voice performance by Chloë Grace Moretz as the titular character, Nimona is nothing less than a triumph.

Stiller & Meara: Nothing Is Lost isn’t just a loving tribute to the great comedy duo of Stiller & Meara; it’s also a beautiful look at how much our closest ones impact us both during their lives and after they're gone.

It may not be the terrifying marvel some Raimi fans are hoping for, but it's still an entertaining enough watch that makes an SOS unnecessary.

Garland may have just delivered one of the most vicious and unrelenting watches of the year, one that I’ll keep debating and untangling both in my head and with others for a good long while.

Until the Wheels Fall Off could’ve maybe explored Hawk’s personal life with a bit more focus, but Jones still creates a captivating, edge-of-your-seat documentary that manages to make the idea of landing a trick a genuinely moving scenario.

Together is the type of joyfully demented horror film that was made to be seen in a theater with other people on the edge of their seats. Shanks has such a great handling of exactly what his movie needs at any given moment, and Brie and Franco have never been better.

Strassner and Larsen are an absolute delight to watch, and this is the kind of movie that indie cinema is all about.

Fans of Mackesy’s book will be utterly delighted to see that the hand-drawn illustrations translate beautifully to the screen without losing any of its neat-yet-messy aesthetic. Because the lines are literally pulled from the pages of the detailed original work, the movie feels less like a short film with a progressing story and more like a moving book.

Even when you then think it may have all settled down, the film twists the knife even further.

Polite Society proves to be a triumphant action comedy with wonderful characters you only wish you could get to know even more.

The Bob’s Burgers Movie isn’t exactly breaking new ground for this world and these characters, but instead, is showing how impeccably crafted and brilliant this world is when it's firing on all cylinders.

Bring Her Back captures the darkness and fear of losing someone, all while making one of the year’s best horror films. It’s that mixture, like with Talk to Me, that makes Danny and Michael Philippou two of the most exciting filmmakers in the genre.

Carmoon establishes a plot that could have been great, but becomes too caught up in the visuals of it all, and the script pays the price.

When we get to the end of its hefty runtime, we get the sensation that La Cocina tried to be several things — an investigative thriller, a fish-out-of-water drama, a delirious trip of a man who’s starting to get burnt out — and didn’t manage to take any of them all the way.

Director Frances O’Connor effortlessly immerses the audience into Emily’s heart, soul, and mind in this refreshing, storybook-like origin story for a reclusive, misunderstood, and underappreciated author.

DuVernay took a big swing with Origin, and that’s certainly to be commended, but the film sadly doesn’t work more often than it does. The impact of the end makes the journey worthwhile, but it’s a rocky road to that conclusion.

Walker-Silverman's film shows that all ends lead to new beginnings, and things can grow back stronger than ever. It's an important sentiment executed exquisitely and makes Rebuilding the film we need for our current times.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

Offbeat and painfully real, Rachel, Rachel fits firmly in with films of the era like Five Easy Pieces and I Never Sang For My Father…not bad company to be in.

That we remain invested is a testament to Boyega as he proves once more he is capable of making good films that are greater than the sum of their parts. It cements his status as one of those actors who makes any project he is attached to one worth seeking out with They Cloned Tyrone being on the better end of a career with so much promise ahead

The very act of filmmaking itself helps Porcelain War battle against those that wish to erase this delicate yet resilient culture.

It is a delightfully bizarre film that is always unexpected while being perfectly balanced by the two lead performances of Edebiri and Sennott.

Even if you’re not a fan of the music of Tucker or Carlile, The Return of Tanya Tucker: Featuring Brandi Carlile will have you hoping for the best for both of these incredible musicians.

Foxx shines in every single moment that he's on-screen. He's able to hone in his comedic prowess and his dramatic chops delivering a performance that reminds us why he's a one-of-a-kind performer.

Backspot is a film that, missteps aside, is elevated by a great performance by Devery Jacobs and a terrific ending.

When the Light Breaks recognizes there is somewhat of a delicate yet feral nature that humans exude while in the throes of anguish. Gone is the poise and self-control we put on with our clothes for the world each day, and out emerge some of the most animalistic qualities we regularly stifle.

Don’t Let’s Go to the Dogs Tonight is a fascinating indie flick with enough pull to find its audience. Davidtz does well enough with her first feature, and the story, along with Venter’s incredible performance, is more than enough to pique the audience’s interest enough to perhaps pick up the memoir.

Miracle Mile could've easily coasted on the virtuosity of its stark tonal pivot, but Steve De Jarnatt expands upon these contrasting emotional modes by examining our relationship towards love and death.

What truly saves this film from its own baffling choices and makes it watchable are the performances. Scott, Piper, and Alwyn all turn in compelling performances, but it is the titular "little bird" that steals the show. As the rebellious, headstrong Catherine, Ramsey is an infectious delight who infuses every scene she's in with an energy that is both comedic and earnest in its bluntness.

My Old Ass manages to show youth from two different perspectives in an endearing and sympathetic way and shows that Park is a remarkable talent that can capture intricate, hard-to-present ideas with ease.

Jackass Forever is ingenious, disgusting, and one of the most hysterical films you’ll see this year, while also managing to be a wonderfully touching celebration of these jackasses and their history together.

It offers a solid police investigation story though fails to use its unique sci-fi world as well as it could have.

Vampire movies, which often incorporate a love story, are usually driven by the threat of discovery. The absence of that in Bones and All, despite leaving evidence all over the Great Plains, makes it a beautiful-looking movie that becomes too devoted to repeating the same note. There is no “all,” just bones.

Its genuinely difficult to think of a better feature debut in recent memory than How to Make Millions Before Grandma Dies.

In a filmography that is full of impressive journeys through space, history, and staggering emotions, Armageddon Time feels like one of Gray’s most ambitious tales so far, even if it isn’t quite as effective in presenting its ideas as it should be.

It is via a willingness to push beyond the headlines and discover something more about humanity that 2nd Chance reveals a deeper sense of the truth behind its scandalous story.

Rowe and co-director Kyler Spears are able to make this world action-packed, exciting, abnormal, and humorous in equal measure, and by focusing on making these TEENAGE Mutant Ninja Turtles into authentic youths, Mutant Mayhem takes characters we’ve seen over and over again and makes them fresh once more.

Woman of the Hour is a tight, smartly handled thriller that may stumble at times with its thematic ideas, but wins you over with its deft handling behind the camera.

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

Joan Fontaine is so fantastic in Suspicion that she won the Academy Award for Best Actress, making her the only Oscar-winning performance in a Hitchcock movie.

It is a beautiful, haunting, and heartwarming look at the tidal wave that trauma brings not just to one person but their entire circle. With subtle but sharp notes on MeToo, cancel culture, online trolling, and sexual assault, I Used to Be Funny is a searingly relevant film without making that its main objective.

In an era where film discourse on the internet is consistently restrained to binary concepts like "it's just good" or "it's just bad," Chasing Chasing Amy is an impressive reminder that discussions on the art of filmmaking can be much more nuanced.

East of Wall thrives in the details, with Beecroft’s gritty, intimate direction and bold casting making it feel adjacent to a documentary.

Jack Quaid and Jeffrey Dean Morgan give heartbreaking and sometimes hilarious performances as two men who need to prove to themselves and everyone around them that they can save the day.

Its greatest strength lies in its simplicity, but that might also be where it falls flat for some.

What makes The Stranger work is how this all creates an experience that feels as though the two men have become almost doomed to a life where they will aimlessly wander in what feels like an Australian purgatory. Whether they ever manage to escape and uncover some sort of closure is irrelevant to the growing rot that threatens to consume their souls no matter what they do.

Bursting with laughter and heart, Joy Ride is not only chock-full of ribald comedy, but it's a wholesome story about friendship which is what grounds these types of movies.

This is a complete vision from a newly minted feature director, and it’s a work very much welcome as it joins the many that have tilled similar acreages.

My Father’s Dragon abandons a truly heartfelt storyline with complex layers in favor of a generic adventure with vague threats, vague solutions, and predictable outcomes.

It's a film that subtly reminds the audience to slow down, be present, and enjoy what one has, because it can be gone in an instant, while also encouraging hope. It's a beautiful cinematic journey and one not to be missed.

Even though the musical aspect does make it at odds with darker cowboy movies, Calamity Jane is still a fitting showcase for one of the genre's best characters.

Dream Scenario is like a strange dream that doesn’t quite go in the direction you would’ve hoped, but still, you’re glad you got to experience that vision.

It's a beautiful tribute to a legend, packed with footage and interviews that highlight his accomplishments and unique talents, though at times a greater focus on John Williams the man, or a follow-up on certain thought-provoking threads, would be welcome.

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

While it's far from Lee's best, Highest 2 Lowest is an entertaining watch, and for lovers of Denzel Washington, it's a must-see.

Compared to his other recent work, Carney’s latest pulls back a bit on the music and leans more into the comedy side of things, yet Power Ballad maintains the heart and optimism that is brimming from all his films, and hopefully, it will get the attention it deserves.

Kill is every bit as insanely violent as you could hope for. It mixes melodrama, romance, and an aggressive amount of violence in ways that few filmmakers are capable of doing.

She Is Conann is not for the faint of heart, weak of stomach, or morally pious. It plays upon the most provocative ideas imaginable—pushing the boundaries of not only sexuality, gender, and self-image, but societal norms too.