Words of War may not be a film that does anything stylistically or creatively to reinvent the wheel, but it has a message that transcends the bounds of art.

The script might have glaring flaws and painfully ambiguous morals, but The Creator is a truly remarkable piece of original science fiction storytelling. Even when it borrows from ideas established in films that preceded it, Edwards manages to make it feel fresh and new. The Creator is a beautifully crafted, albeit imperfect, science-fiction thriller that tries to unravel what it means to be a good human in a bad world.

Theater of Thought could've easily become a straightforward documentary about the evolution of thought and the fascinating science behind our brains, yet in the hands of Herzog, this topic becomes far more entertaining, as he approaches the topic with a wide-eyed wonder that lets this subject go down smooth.

The style, tone, heart, and comedy of Aardman deserve better than Dawn of the Nugget’s formulaic story which doesn’t hold a candle to the original.

It’s a film that’s serious about play, and humble about the need for joy. Piece by Piece is, quite simply, bricktacularly brilliant.

NYAD may use the well-known formula of the underdog eventually proving everyone wrong, but it doesn't feel that formulaic much due to the teamwork on screen and behind the scenes in this film.

Ash feels too familiar, which is disappointing coming from such an idiosyncratic filmmaker like Flying Lotus. This material feels like it's too derivative to be effective, but the video game-like atmosphere, bonkers direction, and reliable cast make it far more watchable.

Even with striking visuals that offer compelling depth and beauty to Minahan’s overall look, the film’s inability to keep a consistent pace and tone, or even establish its primary focus through its leads undercuts its biggest, most poignant messages.

What keeps the movie going when the script starts to run out of ink are the brilliant performances all around.

Though possibly well-intentioned, the execution of The Covenant ensures its narrative and thematic potential is drowned out in the roar of gunfire it becomes far too enamored by.

While it is undeniably a character study with both the actors at the very top of their game, the story itself is perfectly suited for them to shine.

A New Era shows that Downton Abbey doesn’t have to sacrifice joy to also explore sorrow and pain. Amongst charming tales of Hollywood and French getaways, A New Era delves into loves lost, missed opportunities that leave its mark on our lives for years, and how one will be remembered long after they’re gone.

I Want Your Sex proves that every generation needs its own Araki film.

McAvoy creates a story of ambition, prejudice, and performance that gives Scotland’s underdog spirit its due. It isn’t a flawless directorial debut and stumbles in places, but it plays like an anthem for outsiders with a dream.

While hardcore fans won't learn anything they didn't already know, 'The Beach Boys' documentary is a perfectly entertaining love-letter to the SoCal band.

Your Monster is an engaging showcase of Barrera's considerable talents, as well as proof that Dewey can nail a charismatic rom-com lead role under any circumstances.

Alfred Hitchcock's Mr. & Mrs. Smith is a chuckle-filled screwball comedy featuring one of Lombard's greatest comedic performances.

At its very core, Knock at the Cabin works because it reminds of the early days of Shyamalan, when he felt like the next coming of Alfred Hitchcock, and his films would leave the audience talking for days after.

Kiss of the Spider Woman is yet another decent adaptation, but even Condon's visual panache and scale can’t quite elevate this story to greatness.

Schrader is able to prune back some of his more established impulses to service this particular story.

It could innovate more thoroughly and ground its antagonistic plot with stronger internal logic, but it's a solid action outing that's well worth any audience's time.

There are great ideas throughout Fingernails and strong filmmaker instincts, but it also feels like a film that should’ve gone just a bit deeper into this world, its love, and its ideas.

Östlund's comedy of inequality and broken class structures might be a bit too blunt at times, slightly too long, and is often best when at its simplest, but Triangle of Sadness is too fun and ridiculous to not enjoy, and compared to The Square, is a step-up in Östlund's criticism of the bourgeoisie.

Pablo Larraín's Maria is a one-note exploration of another public figure that just makes the same points over and over again.

For Andrews, Bring Them Down is a capable, intriguing debut, but it needs more depth than this revenge tale has to offer.

A tense atmosphere and great acting make up for some lackluster characterization choices.

For all its visual polish and strong performances, Faces of Death remains caught between commentary and replication. It wants to critique our obsession with violence, but it can’t quite resist indulging in it, too. The result is a film that feels acutely aware of the cultural moment it inhabits, yet strangely hesitant to push beyond it.

Kramer plays with surreal department store catalog visuals and body-swap quirkiness, leaning heavily on interpretive dance to convey meaning. There's nothing like it, but with such extravagant boldness comes risks, and they don’t always pay off.