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.