Through its exploration of Navajo culture and life on the reservation, as well as the troubles and beauty of that community, Rez Ball smartly explores dark topics in a way that doesn’t suffocate the underdog story within.

As your run-of-the-mill newsroom thriller, September 5 proves to be a riveting watch with two stand-out performances from Sarsgaard and Magaro and compelling direction from Fehlbaum.

Azrael is both familiar and unique, blending genre comforts with a risky idea. Luckily, it all works, paying off a relatively massive gamble that benefits from Samara Weaving's star power.

Get Away is a deceptive blast that properly exploits vacationer stereotypes to conceal vastly more wicked intentions.

Thought-provoking and poignant, In Flames isn’t an easy conversation, but it is a necessary one that rests its narrative on the pervasive gaze of patriarchal oppression.

In the end, All That We Love is a film about permission: permission to grieve in our own way, to allow others to do the same, and to know that we are still worthy of acceptance, even in our less-than-perfect moments.

The Gutter demands that you’re on its wavelength, but once you’re there, it’s like continual machine gun fire the way jokes and sight gags fly off the screen.

Ahn’s feature debut is ultimately a beautiful, sensitive love story showcasing the healing power of unexpected human connection.

It’s like a good theatrical production. It’s often charming and more than a little chaotic.

Malcolm Washington shows himself to be a capable director, expanding this story in the ways he can while staying true to the source material. This cast also knows how to elevate Wilson's words beautifully, whether it's sticking close to a more stagelike performance or bringing new life to this story, as Deadwyler does.

It's not breaking any new ground, but Prom Queen is a solid enough teen slasher that does a nice job of continuing the ever-expanding universe of R.L. Stine.

We feel very much like we are in the thick of it when watching, as if we're in the room as the story develops.

Altogether, it's a solid dark comedy in the trappings of a psychological horror film.

The idea is good, but in practice The Prosecutor doesn't fully feel like a legal drama, nor does it feel like a martial arts film. It's a decent film with strong direction, but laden with regrettable missed opportunities.

John Magaro, Steve Zahn, and Dylan Baker lead a cast of stellar character actors in a film that winds up being one of the better Fargo-adjacent movies we’ve gotten in some time.

Morris' strength lies in the interviews he conducts and the narrative he's capable of creating through them. The director is not at all interested in making a straightforward adaptation of O'Neill and Piepenbring's book, instead chatting with many actors involved in the Manson case, from Bugliosi to Manson family member Bobby Beausoleil.

The sci-fi thriller certainly has some bumps along the road, but a dedicated performance from Jessica Rothe helps amplify it into an intriguing ride that cleverly showcases the actor's impressive range.

Unfortunately, where the film falters is with its other star, the aforementioned Chris Hemsworth.

The Parenting, which boasts an impressive cast including Brian Cox, Parker Posey, and Edie Falco, takes itself just seriously enough to maintain the impact of both the horror and the comedy, and while it doesn't end up being the most original or breathtaking thing you ever saw, it makes for a fun ride with a lot of character and plenty of heart.

The Bibi Files may not be the poison pill that knocks the Netanyahus from power the way that those on screen may be calling for, but it’s still a powerful presentation of the facts without ever devolving into being a mere polemic.

Some jokes run too long, don’t land, or could use another draft. It's a constant stream of cameos, which is overall fun but sometimes a little distracting. But, at its core, the sequel is a good-natured charmer about a troubled everyman who is trying hard to grow up without losing himself in the process, and it gives us a lot to laugh about on the way.

Shelby Oaks is a promising debut from Chris Stuckmann that’s equal parts eerie and soulful despite some third act shakiness.

There is no other horror film you’ll see this year as incessantly cruel and mean-spirited as The Coffee Table. This is both a compliment and a criticism, as, while the film is plenty committed to twisting the knife into its audience, it can also be rather repetitive before rushing to the finish.

Chestnut is an effective and enjoyable if rather simple and slight coming-of-age movie about a unique time in a person’s life that few filmmakers have chosen to focus on.

Dahomey may not be for everyone. Unless you’re a history nut or anthropologist, there will be lulls when you find your concentration lagging. However, at a runtime of just over an hour, Diop makes every shot count and packs centuries of history, injustice, and triumph into a dense but vivid documentary.

Much like the character he plays, Mikkelsen does a lot with very little, giving life to a barren world that is often defined by death and suffering. It is in his piercing stare that we are taken into the entire interior world of tumult he is trying to contain.

Eubank's direction has a tenderness for its characters and for the little worlds they build around themselves, bursting full of hopes and dreams that we really want to see them achieve.

The New Boy is a movie about how colonization can disguise itself as kindness, and how that kindness is still violent and destructive.