It's a delightfully smart and ambitious story that is equally powerful for children and adults alike.

There's no doubt that it's been a blast to watch McShane ham it up in the John Wick films over the last decade, but American Star offers a nice counterpoint, showing just how good the actor can be when given a role as layered and engrossing as this one.

A magnificent showing from Titus Kaphar and his talented cast, Exhibiting Forgiveness is a complicated and beautiful film that is masterfully crafted.

If there’s one thing we can take away from Will & Harper, it’s that transitioning and allyship can both save lives.

This supposed breakout strains to be edgy while remaining painfully inert. It initially makes for a sporadically fun game to play before revealing how little it has on its mind.

The American Society of Magical Negroes is a film that needs bite for its high concept to work, and unfortunately, Libii’s film doesn’t have teeth.

The editing in Super/Man is perfectly handled, taking what could’ve been a straightforward documentary and turning a life into a collection of what makes us who we are—both the good and the bad.

The film isn’t without its flaws and weird choices, but the fact that it works at all is a testament to the Zellner brothers and this incredible cast being willing to give their all for such a deranged idea.

It certainly is a throwback, but it not only stops far short of being a comedy touchdown, it barely feels like it brings anything new to the field.

Freeman's charismatic and versatile performance as the embattled teacher injects a fascinating level of humanity into the fleshed-out character.

After pushing up against the confines of a conventional musical biopic, it does end up mostly operating within them, hitting all the notes you’d expect it to hit, but that doesn’t mean it doesn’t ring mostly true when it counts.

Through it all, Collias is so confident and assured that it feels like this is her fiftieth leading role instead of her first.

Schimberg’s exploration of identity and representation has the best of intentions, but the more audacious aspects of A Different Man often overwhelm the interesting themes at the center of the film.

It’s never as deep as it thinks it is (or has the potential to be), but as long as you go in simply wanting a nasty, gorgeous, unhinged ride, you’ll leave the rollercoaster satisfied — and probably a little nauseous, too.

Director Nora Fingscheidt adapts Amy Liptrop’s memoir of the same name like a master conductor, melding the past and present expertly to create a staggering look at addiction through a magnificent performance by Ronan.

Not only is this documentary a microcosm of the country at large, reflecting real life in the way that charisma and the ability to fire up the masses can make all the difference when it comes to politics, but it also gives us a sense of what the future can look like.

My Old Ass manages to show youth from two different perspectives in an endearing and sympathetic way and shows that Park is a remarkable talent that can capture intricate, hard-to-present ideas with ease.

Love Lies Bleeding is an exhilarating experience that will make you groan, laugh, cringe, and swoon. This is a remarkable second film from Glass, showing her tremendous ability to build tension and create an entirely unpredictable thriller that won’t be easy to forget.

Eisenberg knocks it out of the park and proves he is a triple threat to be reckoned with, with solid writing, confident directing, and stellar acting — even if, at the end of the day, the film really does belong to Culkin.

Love Me has its flaws. But the cast is endearing, the robots are cute, and if you enjoy a romance movie, you won't be disappointed in this.

Told from the perspective of a “presence” in a house, Soderbergh explores this type of horror story in a way that only he can, playing with the structure of similar films, screwing with our expectations for this type of film, and once more, testing himself while showing the untapped potential in the genre.

Despite solid directing, effects, and production design at various points, The Kitchen doesn't explore its futuristic dystopia nearly as profoundly as it could.

Ultimately, Freaky Tales works if you don't look too hard at it. It's a fun time and some of the most extreme scenes will make you forget any plot holes or inconsistencies.

I Saw the TV Glow is bold, unhinged, extremely unusual, and also kind of magnificent—a daring step forward for Schoenbrun as a filmmaker, and a film that will certainly divide audiences not sure what the hell to make of it.

Cinema as an art form is made infinitely richer via films like Inside the Yellow Cocoon Shell. As we let it linger in our minds just as the camera does up until one final unbroken shot, you drift somewhere you've never been before and may never be again.

Fans of space-based thrillers may get enough out of the movie to be moderately entertained, but anyone else intrigued by the idea of six astronauts floating above a world that may have blown itself to hell is likely going to find themselves disappointed by the fact that I.S.S. barely takes the time to reckon with the unimaginable horror that should have been dawning on these characters.

The film has all the makings of something fresh and elevated, but it ultimately establishes itself as a solid yet still somewhat stereotypical teen romance with sparks of more interesting, daring fare sprinkled throughout.

The Settlers' is a beautiful yet brutal look at historical violence and the lasting impact it has on all who come into contact with it.