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.

Ashley carries the movie, and her talent should be utilized in more romantic comedies. Don't take it too seriously, and you'll have a good time.

Overall, The Electric State doesn’t hold a candle to any of its esteemed cast’s other films, but impressive visual effects and great music help it from being a totally pointless foray into the wasteland.

The strange thing about The Accountant 2 is it's not the same gritty action movie that the original was. O'Connor still delivers some top-notch fight scenes, but this sequel, at its very core, is a hang-out movie, complete with a scene of Affleck awkwardly line-dancing at a bar. Yes, you read that right, and yes, it's as great as it sounds.

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.

Similar to the original, Another Simple Favor manages to defy your expectations. It's a sequel that never feels hellbent on just repeating the same plot beats as the first. While it does get too cocky in delivering dozens of plot twists, the sexiness and soapiness are still there.

It’s a gory, bonkers action-comedy premise anchored by a set of strong performances and a surprisingly poignant meet-cute, making for a wildly memorable action outing.

If you have been eagerly looking for a mash-up of Parasite and Fresh that fundamentally misunderstands why both films resonated with audiences, by catering to the deeply ingrained xenophobia of the upper class, then Delicious is the film for you.

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.

In the Lost Lands could have been an exciting story about witches and werewolves in the post-apocalyptic world, but instead, it's more lifeless than the green-screen backgrounds that consume its runtime.

The Rule of Jenny Pen has a lot going for it. Lithgow and Rush pull off strong performances, the escalation of tension is well-developed regarding the scenes taken as a whole, and the central conceit of the doll is used to strong effect.