There are many aspects to her legacy as a writer, but what makes Judy Blume Forever such a valuable documentary is that it reveals the person underneath her work that made it all come alive.

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

If a film like this were to have anything less than perfection from its leads, it would likely fall to pieces. Thankfully, the story comes to life in the hands of two veteran performers at their very best.

In three hours, Cameron turned this Avatar nonbeliever into a viewer who can’t wait for a new sequel every two years. Avatar: The Way of Water truly feels like a fresh start for this series, as Cameron and his team address the weaknesses of the first film, improving the script and characters, while also creating one of the most extraordinary experiences one can have at the theaters.

Minnie and Moskowitz could easily be retitled as “Men Who Yell at Gena Rowlands About Why They Should Be an Item”. But with John Cassavetes script, the yelling is fun.

Director McKay seems to understand that special balance between terror and camp, and it’s that which makes Renfield, which premiered this week at the Overlook Film Festival, such a delight to watch.

A stunning embrace of abject horror that peels back the layers of skin just as it does those of the mind, The Outwaters stumbles upon a brutal brilliance in the desolation of the desert.

Booger is a bold and refreshing journey into grief and the damaging effects of holding it in when it desperately wants to claw its way out.

As a live-action film, The Peasants would’ve been a grand achievement, but by taking the time to animate these frames and add that extra texture to this story, the Welchmans have made one of the most impressive animated films of the year by far.

Some might criticize Tancred’s approach to this mystery, which meanders, goes on tangents, and follows several red herrings over the course of its two hours. Yet it’s precisely that free-flowing style that makes Last Stop Larrimah so unique.

With a great lead performance by Kravitz, a plot that—like the KIMI device itself—is persistently upgrading and shifting, and a shockingly optimistic story despite the fear of the technological world, KIMI is a shining example that Soderbergh is one of the best directors working today.

On paper, Late Bloomers may not be a revolutionary tale, but its execution makes it a clear standout within this specific sub-genre of nihilistic millennial dread.

With Thanksgiving, Roth brings horror back to basics and reminds us that it can be nasty, gory, gnarly, and a ton of fun all at once.

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

Jethica feels like the middle act of a much more compelling film and is a rare example of a film that could have done with a smidge more exposition. If this were a proof-of-concept I would love to see a much deeper, broader look at this story.

The final scene all the way up to the last line hits like a truck. It leaves wreckage in its wake as the psychological and emotional scars linger for us as an audience just as they do for its central character caught in the grasp of a cruel world.

Pomerantz’s screenplay is deceptively complex, yet it’s pulled off effortlessly. Pomerantz is presenting ideas of self-discovery, lifelong friendships, confusion and uncertainty in who a person is, and handling all this in a remarkably entertaining and endearing story.

Book Club: The Next Chapter is a raucously funny movie that will leave audiences ready to grab their gal pals and set off on an adventure to Italy.

Though Bruiser doesn’t provide any easy resolutions, it's a beautifully shot work that grapples with fatherhood, masculinity, and growing up that emerges as a fittingly flawed cinematic gem.

Figgis’ Megadoc is an engrossing look at one of the biggest pet projects of all time, a film that lived in Coppola’s brain for so long and struggled to come to life on the screen effectively. Megadoc shows that while it's great to bring your passion to life, sometimes, it wasn't meant to be.

At the end of the day, Rehmeier's take on an outlaw romance wrapped in a road movie is entirely too enjoyable to give too much hate to. From the country music needle drops to the oozing on-screen chemistry, anyone who loves a good crime movie that doesn't take itself too seriously will need to get their butts into the theater for this one.

The Balconettes is the announcement of a formidable comedic voice.

Despite its occasional flaws, The Brutalist is one of the most remarkable films of the year, and proof that Corbet is a fascinating filmmaker to keep an eye on.

Hoppers is an absolute delight, setting the bar high for animated films this year, while creating a film that reminds us just how amazing Pixar still is at making new, exciting worlds and stories, without relying on sequels.

A Goofy Movie remains an understated film in the Disney animated film canon, and Not Just a Goof wonderfully reminds us why this is a film that deserves far more attention than it ever received.

Empathetic human performances turn Sovereign into more than a typical crime thriller.

You get wrapped up in the whimsy of it all just before it all hits you like a truck, finding plenty of resonant emotional flashbacks that contextualize and deepen the experience just in time for the conclusion.

Jim Carrey is the real star of this trilogy. Carrey's signature brand of improvisational comedy serves him well once again here, as his gleefully cartoonish villain continues to be a highlight of his recent acting works.