Along with his co-writer Bossi Baker, Erkman has made a distinctly eerie and sinister debut that succeeds at sneaking into the depths of your subconscious.

Robot Dreams is a beautifully animated look at life, friendship, and what it means to grow apart.

Polished off by a vibrant cast, Annick Blanc’s feature debut is an impressive feat and a refreshing and minimal twist on the “eat the rich” trend in Hollywood.

Shirley is a relatively straightforward biopic, but it’s worth the watch to see Regina King’s beautiful performance that feels like an ode to the trailblazing woman.

Better Man is in a category of successful biopic dramatizations all unto itself.

All You Need Is Kill might not be as impactful as the Takeuchi / Obata manga, or Tom Cruise’s live-action update, but it does make some intriguing choices that will absolutely be worthwhile for fans of these other versions to check out.

While Kill Me doesn’t stick its landing, this is an impressive debut from Peter Warren, and it shows how well he can mix extremely dark subject matter with an engaging mystery that’s also quite funny.

Even though the cast helps to nurture the sense of nostalgia in the film, it doesn't prevent the screenplay from failing to match the tone of the OG series.

The Boogeyman is at its best when it strips away all the excess to draw us deeper into darkness.

Not all of Arnold’s usual tricks work effectively in Cow, but for a first documentary, Cow is an engrossing and surprisingly emotional look at the farming industry through the eyes of a single bovine.

Foxx shines in every single moment that he's on-screen. He's able to hone in his comedic prowess and his dramatic chops delivering a performance that reminds us why he's a one-of-a-kind performer.

It is a fun romp, one that is sure to entertain audiences.

It’s not that Mothering Sunday is a bad film, it’s far from it, but it never reaches the echelons of true greatness that it should have been able to achieve with such a who’s who cast.

While the narrative is rooted in the use of a sci-fi device, the film is rather light on traditional elements from the genre, relying almost entirely on the personal relationships of the characters and their shared memories to tell a story about the ripple effect one life can have on even the tiniest details of the world around them.

At the very least, Diamond Hands is an entertaining and informative look at a moment in time when the many overcome the few, but it doesn't land solidly enough to leave a lasting impact.

Playing out almost like a spoof of various genres with both macabre horror and mumblecore misdirects, it's an odd film that's often as lost as the charming characters themselves before settling into a strange groove that starts to cast a spell of its own.

The Unbearable Weight of Massive Talent—even when it doesn’t entirely work—shows the dedication and greatness of Cage, the impressive breadth of his career, and proves that Cage is, indeed, back. Not that he went anywhere.

When all the dust settles, The Last Kingdom: Seven Kings Must Die is a flawed yet fitting finale that serves as a send-off to Uhtred of Bebbanburg and the bloody life he did everything to find a way clear of.

For all the ways the film holds us at a bit at a distance, the performances do wonders in closing this gap.

It's far from perfect, but the production design of the film and the strong backbone of actors make Cobweb an entertaining film, though not a must-see.

You're a Big Boy Now fits in with the sort of rebellious, youthful films that were popular during the final years of the rebellious decade in which it was released, but probably isn't an essential watch for anyone other than the filmmaker's most devoted fans.

Is it a bit baggy and less amusingly chaotic than past entries? Absolutely. However, Bell's return as this character is still grimly fun when he's given room to let loose. Even as time isn't always on his side, he makes the most of nearly every moment.

Even though the flaws in Last Dance are glaringly obvious—not only is this the worst of the Magic Mike franchise, it’s also clunky in a way Soderbergh films rarely are—it’s still hard to not get caught up in the celebration of it all.

A Little Prayer is often a fairly still story, but it all builds to a beautiful moment between Bill and Tammy, where we get to see the true impact of MacLachlan's tale hit the audience in full force.

Its greatest strength lies in its simplicity, but that might also be where it falls flat for some.

As a whole, Arquette's directorial effort is fun, but forgettable. Despite pulling out laughs from viewers here and there or Dafoe and Morrone's impeccable deliveries, the plot doesn't quite stay with you.

When it embraces an eerie and enigmatic tone that subsequently gets turned on its head, Significant Other still boldly proves to be a film worth getting lost in.

Vampire movies, which often incorporate a love story, are usually driven by the threat of discovery. The absence of that in Bones and All, despite leaving evidence all over the Great Plains, makes it a beautiful-looking movie that becomes too devoted to repeating the same note. There is no “all,” just bones.