Skin Deep is the type of quietly ambitious film that never forgets about the personal while immersing us in vast ideas about the underpinnings of identity itself. It is a poetic and profound gem of an experience you wouldn't dare swap for anything else.

While Bloody Hell is undoubtedly courageous for dealing with many sensitive themes, the film struggles to find its pacing and keep the audience engaged in a story that sometimes feels too predictable.

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.

Ultimately, Dìdi's problem is that it is charming but aimless. Izaac Wang is perfectly cast as Chris, and he has amazing chemistry with this cast, but there just isn't enough to go off of. It feels like we're looking into a vignette of someone's life rather than taking in a fully realized story.

Don Lee comes out the other side unscathed since his charisma helps carry most of the story and he’s always fun to watch.

The Tiger's Apprentice is a self-contained, satisfying story that will both entertain and tug at the audience's heartstrings.

Thelma could’ve been a one-note joke, but Margolin’s script makes being elderly a strength and not a weakness.

At its core, it's a light-hearted spy romp that riffs on a lot of the soap-opera tropes that crossover into the realm of espionage. "Dumb fun" might get thrown around a lot with Vaughn's films, and it might be true, but Argylle does try to be smart in its execution.

It's a deliberately-paced drama with some decent performances and a gorgeously dark aesthetic, but lacks the time or effort to give these stories what they need.

The Greatest Night in Pop is a worthy story in its own right, but a bit more of the director's touch could've done justice to this gigantic achievement of pop music history.

It's a delightfully smart and ambitious story that is equally powerful for children and adults alike.

There's no doubt that it's been a blast to watch McShane ham it up in the John Wick films over the last decade, but American Star offers a nice counterpoint, showing just how good the actor can be when given a role as layered and engrossing as this one.

A magnificent showing from Titus Kaphar and his talented cast, Exhibiting Forgiveness is a complicated and beautiful film that is masterfully crafted.

If there’s one thing we can take away from Will & Harper, it’s that transitioning and allyship can both save lives.

This supposed breakout strains to be edgy while remaining painfully inert. It initially makes for a sporadically fun game to play before revealing how little it has on its mind.

The American Society of Magical Negroes is a film that needs bite for its high concept to work, and unfortunately, Libii’s film doesn’t have teeth.

The editing in Super/Man is perfectly handled, taking what could’ve been a straightforward documentary and turning a life into a collection of what makes us who we are—both the good and the bad.

The film isn’t without its flaws and weird choices, but the fact that it works at all is a testament to the Zellner brothers and this incredible cast being willing to give their all for such a deranged idea.

It certainly is a throwback, but it not only stops far short of being a comedy touchdown, it barely feels like it brings anything new to the field.

Freeman's charismatic and versatile performance as the embattled teacher injects a fascinating level of humanity into the fleshed-out character.

After pushing up against the confines of a conventional musical biopic, it does end up mostly operating within them, hitting all the notes you’d expect it to hit, but that doesn’t mean it doesn’t ring mostly true when it counts.

Through it all, Collias is so confident and assured that it feels like this is her fiftieth leading role instead of her first.

Schimberg’s exploration of identity and representation has the best of intentions, but the more audacious aspects of A Different Man often overwhelm the interesting themes at the center of the film.

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.

Director Nora Fingscheidt adapts Amy Liptrop’s memoir of the same name like a master conductor, melding the past and present expertly to create a staggering look at addiction through a magnificent performance by Ronan.

Not only is this documentary a microcosm of the country at large, reflecting real life in the way that charisma and the ability to fire up the masses can make all the difference when it comes to politics, but it also gives us a sense of what the future can look like.

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.

Love Lies Bleeding is an exhilarating experience that will make you groan, laugh, cringe, and swoon. This is a remarkable second film from Glass, showing her tremendous ability to build tension and create an entirely unpredictable thriller that won’t be easy to forget.