This is a movie that deserves to be discovered, to be recommended to friends, and to develop a cult following that lingers on. It's just too much fun to settle for less.

A familiar underdog story made engaging by the flashes of patience with which it approaches its material, Sanaa Lathan’s On the Come Up doesn’t reinvent the wheel as much as it tries to roll along with it.

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.

The dialogue remains consistently sharp, authentic, and unique to its characters throughout, proving to be the film's strength.

Slingshot is more of a murky mystery where the big revelations don't hold up under scrutiny.

Offering a fresh take on a legendary folk hero, William Tell’s solid cast and engaging battle sequences will keep viewers hooked. Easy to overlook its faults with impressive sequences, performances and sharp cinematography, the film is an appreciated one for its throwback feel.

If written well and with the same care as its direction, this could have conveyed a sense of more genuine tragedy. Regrettably, for all the ways the performances try to eschew convention for a bit more substance, it is a losing battle from start to finish.

What starts as a promising storyline soon dwindles as tired tropes take center stage and no sparks fly between the main pair.

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

There are masterful works of horror that have proven less can be more. Despite some of its promise, Baghead is not one of them.

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.

It's content with being simply silly when it could have been so much more. Still, Doin' It will make you laugh out loud throughout its runtime, and Lilly Singh shows that she has what it takes to succeed on the big screen.

With heartfelt and emotional performances by the cast, See You When I See You is a stirring tale about survivor's guilt, grief, and reconnecting in the wake of tragedy. Though the film hits on all emotional notes, there's one crucial setback that holds back an otherwise moving story.

Death of a Unicorn is a delight; a clever, sharp-horned, and violent horror-comedy that demands to be seen on the big screen with an audience.

For a film that's little more than an hour long, Number 17 manages to weave a complex plot of who's who and whodunit.

For all the ways that Darby and the Dead tries to give its abundantly safe story some life, it can’t break free of a narrative hellbent on dragging it to the grave.

The movie is as sloppy as a horror movie can be, but that also contributes to its charm. The only major downside of the experience is a drag of a first act, that’ll most certainly scare away impatient horror fans, and with good reason.

With disregard to elements it itself establishes and featuring more characters than it knows what to do with, the film forgets to flesh out its comedic potential and sticks to the repetition of a handful of jokes, even when some of them fall flat.

Fixed has the stylish hand-drawn animation that Genndy Tartakovsky is so well-known for, but the juvenile humor feels beneath a filmmaker of his stature.

Susie Searches has its heart in the right place, and this could’ve been the beginning of an interesting mystery series of sorts, full of intriguing characters, twists and turns that are hard to see coming—even for Susie. But the mishandling of tone and unusual shifts in logic and character motivations makes this film more of a mystery in itself.

While the kills in the first movie were quite imaginative, they also erred slightly into the fantastical. The Wrath of Becky grounds its kills more in reality, but it doesn't pull back on the gore whatsoever.

Umma is a solid entry for Shim's debut with a strong story and standout leading performance from Oh. It examines generational trauma, identity, and what it means to confront your past, and it does so effectively.

Once again, Daisy Ridley proves she has the charm and star power to make even the shakiest scripts a thoroughly enjoyable watch. Like Protégé, Cleaner has a lot of compelling storylines, action sequences, and intention, but the execution leaves something to be desired.

The cast as a whole never gels together like you'd want in a big team-based spy film like this, maybe because they spend so much time in separate locations talking to each other through earpieces.

Especially compared to the 2015 adaptation, A Man Called Otto is a clunky update that often feels like it's full of cartoonish characters, with poor music choices, and cloying sentimentality. But when Forster and Magee pull away from these eccentricities, the story of Otto and Marisol is often a thing of beauty, and wonderful friendship that is lovely to watch grow.

There's an excellent film somewhere in The Woman in the Yard, but it would take another draft to uncover it from beneath that jet-black burial shroud. Suffice it to say, it's a horror outing that works rather well until it falls apart at the end.

The undeniable likability of Ben Wang keeps things from sinking, and the marvelous action sequences mark a strong start to Jonathan Entwistle's feature filmmaking career.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.