It’s a clever reinvention of commonly distraught themes, teaching an old dog new tricks with a dreadfully cosmic twist.

It's a strong and highly watchable thriller that shouldn't be missed.

There is a simplistic charm to the movie that captures the strange in-between times of the early 2000s.

Bloody Axe Wound may not be a satirical masterpiece, a profound coming-of-age work or a belly-aching comedy, but its surface is shiny enough to guarantee a bloody good time while watching it -- just don't bite the blade any deeper.

Locked is a really slick, tightly-spun crime thriller that seems to take a good deal of inspiration from Joel Schumacher's Phone Booth.

Snow White deserved an update of sorts, and this is an admirable new take that certainly is one of the better live-action remakes from Disney. It might not be the fairest Snow White of all, but it's an admirable effort nonetheless.

It's a real shame that The Alto Knights doesn't explore its real-life story as thoroughly as it should have, as there is a genuinely interesting story to tell here. The film details historical events that didn't just dramatically impact the shadowy world of organized crime, it changed the public perception of the Mafia forever. The Alto Knights perhaps would have been better served if it had been a documentary narrated by one Robert De Niro instead of a meandering feature film that stars two.

Not only will you get to revisit old favorites and feelings, but you’ll be taken to places you’ve never been before. Thus is the power of music and the magnificent, inimitable Hans Zimmer.

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.

It's a joyous, heartfelt, hilarious, and emotional dramedy that won't leave your mind.

After proving herself as a director on TV shows like Stranger Things and Severance, Briesewitz has delivered a promising directorial debut, with fascinating characters and takes us on a journey to a world that we don't often see in American films.

We Bury The Dead is a sprawling but sparse zombie remix that's too far removed from the genre it's exploiting.

It's evident Cave tried her best to steer the ship, but the story feels aimless, and moments after things get interesting, Holland cuts to credits, leaving you equally puzzled and burned out.

Performances are the spectacle, and both actors do a tremendous job translating the worst feeling any parent can experience. It all depends on your patience for slow-burn horrors, and if there's enough nightmare fuel to stay along for the ride.

LifeHack is a captivating, exhilarating, and full-speed heist thriller that marks one hell of a feature debut.

The Devil And The Daylong Brothers is brimming with potential. It's not afraid to take some risks, which is more than you can say for over half of the movies that get released every year. Its only setback is that it puts its style ahead of character development.

Nirvanna the Band the Show the Movie is not only the funniest movie I’ve seen at SXSW, it’s one of the funniest I’ve seen in years.

Borderline is a prime example of how a really great cast can elevate rather frail material.

The Threesome is not without its flaws, it could absolutely use some fleshing out in some key parts, and its ending feels like a bit of a cop-out, considering everything that comes before it — yet it delivers when targeting the big emotional core that makes this story special.

For all the faults O'Dessa has, it's clearly a film made with an abundance of passion and creativity. It's a gender-swapped, punk rock, post-apocalyptic reinvention of the myth of Orpheus and Eurydice. It's also a movie that largely doesn't work and trips over its own ambition.

Leonberg shows so much promise, ultimately delivering a horror movie that not only has the scares but also a massive heart. However, it does also help that the movie is centered around a cute dog.

Dan Farah's directorial debut is the kind of movie that is bound to stir up conversation, especially if it ends up being bought up by a streaming service (this feels tailor-made for Netflix). Unfortunately, it's executed in the most bland way possible.

With a delectable cast and Soderbergh and Koepp knowing exactly how to twist this story with each new scene and reveal, Black Bag is yet another example that Soderbergh can basically make any genre his own, and thrive in it.

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 Day the Earth Blew Up: A Looney Tunes Movie shows just how much life there still is in these characters and this world, and that they’re malleable enough to continue providing entertainment to every generation. The Day the Earth Blew Up is the welcome back that the Looney Tunes have long deserved.

It's anchored by a wonderful central performance from Susan Chardy, who finds layers of nuance in Shula as her anger over the situation bubbles to the surface. It's an excellent film, and a strong display of talent across the board.

The Actor is a film about discovering who you truly are, and it also reveals that Johnson is a captivating, promising filmmaker who hopefully won’t wait another decade to make his next film.

Landon has proven himself to be one of the best studio filmmakers in delivering enjoyable genre-forward movies, and Drop may just be his best movie yet.