Hustle isn't breaking the mold of what a sports film can be, but it is yet another reminder of Sandler's gifts as a dramatic actor through an extremely charming and compelling story about a mentor trying to help another reach their potential.

It is one worth putting on your radar even as it magnificently goes all over the map into the cosmos the longer you get lost in 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.

There will always be much to the film that is too distant, but the moments where Stolevski pulls us in closer make its portrait of passion resonate where it counts.

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

While Copa 71 can feel a little surface-level at times, it’s still an enjoyable watch and a solid introduction to an event very few remember.

It’s a film that doesn’t feel the pressure of reminding the audience that it’s a comedy, which makes the story and the dysfunctional—but very loving—family that much more endearing and authentic to real life.

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.

By capturing Flipside in this way, Wilcha shows the weird, unbelievable nature of life and the surprises that make it such a beautiful mess.

Contrary to modern fairy tales, Squeal doesn’t have a clear moral lesson, giving the viewer the hard work of reaching their own conclusions. That’s part of what makes Squeal so enticing, as the film allows multiple readings about vile work structures, the possibility of being happy in an abusive relationship, animal abuse, and even the meaning of freedom itself.

I Want You Back largely relies on the overwhelming charm of its tremendous cast, and in particular, the magnificent dynamic between Slate and Day, but that’s all I Want You Back really needs.

Death on the Nile might have been a long time coming, but it’s one of the most alluring mysteries in years, and a great example of how Branagh can elevate iconic stories with grace and care.

A film so quirky that it’s ready-made for a Wes Anderson remake.

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.

Through We Feed People, Howard shows how impressive and powerful Andrés’ operation is, often covering large areas that need disaster relief. At certain points in We Feed People, even the Red Cross and Salvation Army are asking for help from Andrés in these truly awful times.

It’s a long, hard ninety minutes, even with someone as charming as Farrier leading the charge, but that ultimately feels like the point — that minutes turn to hours with Michael Organ.

While it never fully succeeds, Khan understands that strange in-between place that ‘80s films exist in and mimics that energy well, even if the script doesn’t quite keep up.

Fennell’s direction outdoes her writing here, and the cinematography from Linus Sandgren is exquisite (no surprise).

Fire Island is a strong update to Austen, full of charm, heart, and friendship, yet Booster's screenplay works best when it is not relying on the source material and having fun with this fun concept. With an excellent cast and a perfect blending of Ahn and Booster's talents, Fire Island is an extremely enjoyable trip.

Howard's no-frills approach to Thirteen Lives is what makes it such a success.

It is almost like a novel in how expansive it is, providing a sense of scope that can frequently leave this story feeling scattered. As the city is in a constant state of change, the lives of the characters are similarly in flux as their already pressing problems only become more and more dire.

Lucy and Desi isn’t breaking the mold in terms of biographical documentaries, but when put together in this package, the story of Ball and Arnaz has an impressive weight beyond just a collection of compelling anecdotes.

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

Kingdom of the Planet of the Apes explores the past while creating a new future, starting this fresh angle on the series to a rocky, but promising start.

The destination is worth the journey, and it offers a viewing experience that feels earned in the end

Race for Glory: Audi vs. Lancia is a compelling and rewatchable film though it feels as though some elements have been cut out.

Similar to the original, Another Simple Favor manages to defy your expectations. It's a sequel that never feels hellbent on just repeating the same plot beats as the first. While it does get too cocky in delivering dozens of plot twists, the sexiness and soapiness are still there.

Although it could be debated whether this is a rom-com or not, given that the romance itself takes a back seat, it excels as a feel-good, indie dramedy anchored by Amanda Peet's career-best cinematic return.