It's a heartbreaking on-the-ground look at the human cost of the Israeli government's settlement policy that must be seen.

Unfortunately, Love Hurts never does its stars justice as a lazily slapped-together action-comedy with a script that feels like it never had a second draft.

Renner lands as a forgettable and tedious watch, made worthwhile only by surprisingly dynamic performances from the small ensemble cast.

Distancing itself from clichés in the name of honesty and earnestness, the charming British dramedy showcases the whole gamut of human relationships but takes tender care to highlight the good. The performances are delightfully honest, its cinematography is visually stunning and immersive, and the tale it tells is one of forgiveness and letting go – one that highlights the power of being gentle to one another.

Luz is an ambitious film but one that overreaches a little and becomes jumbled as a result, but it shows promise for filmmaker Flora Lau.

Dark Nuns doesn't reinvent the wheel. If you're seeking out an exorcism film that's going to shock you and be vastly different from what you've seen before, you're going to be disappointed. But what Dark Nuns does have are two central characters of the like that we don't often see.

Director Chloé Robichaud's fourth feature film is a fun and sexy romp that discusses infidelity, marriage, and being a mother in our modern age.

Tyler Spindel's latest directorial effort might falter when it comes to its approach to physical comedy, but it still deserves some appreciation for what it does well: make you laugh and feel.

By the end of Not Alone Anymore, it's clear that Matlin is far from a star who burned too bright once, and her light has not dimmed at all. If anything, she's been working steadily and surely and despite the years of solitude, thanks to her creating the path forward, she is not alone anymore and won't ever be again.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

Unfortunately, Bubble & Squeak far more often embraces the ridiculous more than the realistic, and ultimately struggles to combine these two into a whole that works.

Holder's wayward romantic indie chases meaning through quiet reflections that navigate hardship somewhat cleanly. While it's a delightful representation of Brooklyn's playground, scenes flow through motions like a wandering observer.

Sorry, Baby is a fantastic debut that has announced Victor as one of today's most exciting up-and-coming filmmakers.

It's hard to find any redeeming qualities in Last Days. Its pacing and multiple storylines, not to mention jumping back and forth in time, only work to make the viewer disoriented when it comes to bonding with a character who already does not feel that sympathetic.

Brides is an original and bold coming-of-age story that features two star-making performances from its young talent.

While parts of it are laudable, unfortunately, Emmi’s film feels underbaked, never truly elevating its story to generate the kind of deeper effect that similar thrillers have managed to elicit.

For those drawn to the bent, who crave some "Cheepnis" in a cinematic landscape of overproduced and overpriced madness, they just might fall in love with Dead Lover for all of its foul, fecund, and farcical facets.

The film memorializes André and keeps him from being forgotten — something he mentions multiple times throughout the film. Yet it also helps André come to terms with everything.

Walker-Silverman's film shows that all ends lead to new beginnings, and things can grow back stronger than ever. It's an important sentiment executed exquisitely and makes Rebuilding the film we need for our current times.

East of Wall thrives in the details, with Beecroft’s gritty, intimate direction and bold casting making it feel adjacent to a documentary.

It may not feel as polished or suspenseful as Longlegs, but you can tell Perkins is having a whale of a time putting his years of horror filmmaking to the maximum.

Macdonald and Rice-Edwards take us back to the 1970s to explore these two but also show that two of the most important figures in music history were just a pair of flawed individuals trying their best to use their position of power to make the world a better place.

With fun production elements, a goofy storyline, discordant yet effective sound design, and enough oddness to keep things captivating, traversing through the world of OBEX makes for quite an entertaining journey.

Though the themes in Atropia are more subtle than one might hope and expect from a war satire, and the film could benefit from more focus, Hailey Gates successfully draws intriguing parallels between war and the entertainment industry that will have you looking at both in a whole new light.

Everybody who worked on Green and Gold brought their A-game and made what could have been your run-of-the-mill drama into a truly sublime movie.

Much like the setting it depicts, Sunfish (& Other Stories on Green Lake) is a quiet little gem with much more to it for people willing to take the time to look beneath the surface.

The two leads are so charming, the jokes are genuinely funny, and the kills are delightfully gorey.

It's a silly movie, make no mistake, but it's an endearingly one nonetheless.