This wonderfully personal story is filled to the brim with a seemingly endless reservoir of laughs and tears. It's an experience that won't just have you liking Bob Trevino Likes It, it will have you loving it.

Riveting without ever feeling sensationalized and moving without being saccharine, Middletown is a captivating tale that combines elements of true crime and coming-of-age stories and proves, once again, that Moss and McBaine are two of the most talented documentarians working today.

Unicorns seems like a much older movie, torn from an era in which queer people were not allowed to tell their own stories, instead being reduced to secondary characters in straight plots.

With immersive action set pieces, heartfelt snippets of character-driven stories, and fantastic performances all around, Steve McQueen shows again his adept ability at bringing such enormous scope to deeply personal human stories.

With a limited budget and a lot of dedication to the craft, the project is able to build on its references to thrillers from the '70s and '80s while finding its own footing.

Given Almodóvar’s established penchant for melodrama and that the subject is euthanasia, the film is strangely aloof. It never reduces the proceedings to Lifetime territory or patronizes moviegoers in the process. It does, however, leave you to wonder a bit about the indifference you might ultimately come away with yourself.

At its core, Vesper feels like a dark fairytale, like something born from the haunted tales of Grimms' Fairy Tales.

Theater Camp isn’t without its weaknesses, but the hilarious cast—like their characters—are game for anything, and the jokes are flying fast and mostly landing.

It’s never as deep as it thinks it is (or has the potential to be), but as long as you go in simply wanting a nasty, gorgeous, unhinged ride, you’ll leave the rollercoaster satisfied — and probably a little nauseous, too.

Apart from the impeccable cast, what’s most impressive about Companion is its balance of so many differing moving parts. It’s a genuinely funny comedy, a suspenseful thriller, and has some pretty gnarly gore scenes to boot.

James Mangold's A Complete Unknown explores the music of Bob Dylan with fantastic care and a great performance by Timothée Chalamet.

While Comer makes a committed effort to carry the film, it falls flat in its excessive filler, undeveloped characters, and symphony of bonkers accents.

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.

The conclusion might leave some throwing their hands up in frustration and others applauding its audacity, but it's an ending that will definitely leave you with something to talk about and ponder long after the credits finish rolling.

Eagles of the Republic's greatest strength lies in Fares Fares, who is all too convincing as a superstar actor in Egypt, striking a delicate balance between his comedic scenes and dramatic ones

As Ibsen’s play has shown, even a century after its writing, this is still a story with life in it, and DaCosta’s take modernizes it in deft ways. However, the questionable way DaCosta's film goes about it doesn’t do the story justice, making this a party that fizzles out long before the last guest has left.

Alex Huston Fischer and Eleanor Wilson's romantic fantasy film is a delightful and silly tale that masquerades as a fable. Beneath the surface of its folklore-esque concept, Wicker is more an exploration of human connection, a criticism of the patriarchy, and a fun exploration of just how far one ridiculous concept can be taken.

The Friend's heart is in the right place, but it can't get out of its own way.

Emilia Pérez boasts a remarkable trifecta of performances, but Jacques Audiard's ambitious project tries to do a bit too much.

Man is a true mixed bag. The action is staggeringly impressive, both from a visual and storytelling standpoint, but the material in between runs the risk of deflating the experience via pacing problems and narrative confusion.

Even as it comes awfully close to overstaying its welcome just a bit, much like the spiders in the home of the characters, it very quickly grows on you.

Mike & Nick & Nick & Alice is a ridiculous adventure that is constantly surprising, unexpectedly touching, and truly hilarious.

There is a good film in The Harbinger that we catch glimpses of in moments of horror and the conversations we do get to see play out. It just is struggling to break through the uncertain confines of the story it is trapped in.

Mrs. Harris Goes to Paris is a quiet delight, a perfect summer interlude that exudes beauty, optimism and charm in every scene. Mrs. Harris Goes to Paris feels like capturing joy in a bottle.

Though the ending is somewhat disappointing and less dynamic than everything that preceded it, this can’t take away all that the film still has going for it.

Even though Sidney takes a fairly elementary look at Poitier’s career, it’s still extraordinary to see the contributions this man had on the world lined up in this way. Poitier left an indelible change on entertainment, the culture, and society at large, and Sidney makes us aware that this world wouldn’t be the same without Poitier.

It will make you cry, it will make you uncomfortable, but at the end of the film's runtime, it will leave you with a feeling of profound satisfaction that even the most heartfelt movies struggle to replicate.

If you were a fan of Beavis and Butt-Head, you will love them doing The Universe. They haven’t changed a bit, even though the world around them has changed. It is delightfully charming and ridiculous and completely expected, in the best way possible.