Is it a bit baggy and less amusingly chaotic than past entries? Absolutely. However, Bell's return as this character is still grimly fun when he's given room to let loose. Even as time isn't always on his side, he makes the most of nearly every moment.

The Wonderful Story of Henry Sugar feels like a project Anderson needed, a way to explore smaller storytelling in a manner that still allows him room to experiment, have fun, and utilize his very specific voice and talents.

The script might have glaring flaws and painfully ambiguous morals, but The Creator is a truly remarkable piece of original science fiction storytelling. Even when it borrows from ideas established in films that preceded it, Edwards manages to make it feel fresh and new. The Creator is a beautifully crafted, albeit imperfect, science-fiction thriller that tries to unravel what it means to be a good human in a bad world.

It’s funny, bizarre, uncomfortable, and an absolute cringe-fest for all the best reasons.

For horror fans who prefer a more subtle and nuanced brand of horror that verges on the very outskirts of psychological horror, the lo-fi grunginess of Falling Stars will certainly appeal to them, though the outcome may leave them with more questions than answers.

As far as feature debuts go, Purev-Ochir delivers a solid offering, one that showcases her strengths and leans into the soul of her original short, elaborating on an intriguing concept to impressive results.

Mountains is the kind of movie that reminds us why we love to sit in the dark and peek at other people’s lives. It’s a three-way character study that teaches us about life, parenthood, marriage, and expectations without ever feeling preachy, boring, or flimsy.

She Is Conann is not for the faint of heart, weak of stomach, or morally pious. It plays upon the most provocative ideas imaginable—pushing the boundaries of not only sexuality, gender, and self-image, but societal norms too.

Lost Ladies manages the rare feat of being a joyride and a meaningful social commentary at the same time.

From its simple but effective production design right down to Jinkings’ excellent performance, Toll provides a multi-layered picture of what Suellen’s life is like.

Elkann is a visionary with the ability to create specific, gorgeous worlds and unique characters, especially when it focuses on the relationship between Pupa and Gianna. The themes that arise during the film are riveting, but it stops short of fully diving into them and their implications.

So long as you aren’t expecting a masterpiece, Spy Kids: Armageddon proves itself as a fun, spy romp, where kids are king and parents are simply along for the ride. It’s childhood wish-fulfillment to the extreme, straight down to getting to live out video game fantasies and one-hit wonders.

Dever takes Duffield's clever, anxiety-inducing script and levels it up with her complex performance. Together the duo are a one-two punch, delivering a thought-provoking sci-fi thriller that promises to become a favorite among genre lovers.

There are moments of terror near the beginning, but it gets far too tangled up in a generic narrative that drowns out any sense of vision. Even with some striking visual moments and excellent sound design, it is all in service of regrettably very little.

The occasional moment of machine gun motorcycle jousting aside, it is a largely dull and dreary experience that never feels like it is ever anything more than a hollow mimicry of far better action works of the past.

Without much footage of the war itself, the firsthand accounts from the passengers in the car are enough to paint a picture of the terrors that they've endured and their need to find a better place to stay.

A film filled with intensity, this is a worthwhile, deliciously vile watch.

The film has the power to bring its audience to tears because the story is powerful, and the thoughtful creative decisions do justice to it.

As a whole, Arquette's directorial effort is fun, but forgettable. Despite pulling out laughs from viewers here and there or Dafoe and Morrone's impeccable deliveries, the plot doesn't quite stay with you.

As a live-action film, The Peasants would’ve been a grand achievement, but by taking the time to animate these frames and add that extra texture to this story, the Welchmans have made one of the most impressive animated films of the year by far.

Given that the two leads in this project don't seem to have a clear driving force to their actions, this feminist thriller does more to show the challenges that women face than to create fully developed characters. Although the film does end with a bang, these missteps leading up to the resolution make the final scene bittersweet.

NYAD may use the well-known formula of the underdog eventually proving everyone wrong, but it doesn't feel that formulaic much due to the teamwork on screen and behind the scenes in this film.

Bennett lifts the story up just like the bubbles in the veuve's own delicious champagne, showing us the brilliance in this biopic drama.

As a documentary, Sorry/Not Sorry isn’t groundbreaking in terms of form or information, but it does feel important in the larger conversations that Suh and Montes are exploring, as C.K. isn’t the first nor will he be the last celebrity to have the pain they've caused unveiled to the world.

By capturing Flipside in this way, Wilcha shows the weird, unbelievable nature of life and the surprises that make it such a beautiful mess.

The End We Start From leaves the audience with plenty to ponder and think about alongside reminiscing about Comer's incredible performance.

The film is funny but also manages to be a smart comedy that feeds off its dramatic moments for a story that shines thanks to the depth of sisterly love.

Hamaguchi’s Drive My Car worked so beautifully because of the smaller, quiet moments of life, the drives from one place to the next, and the undiscovered moments that we keep hidden. Evil Does Not Exist turns these moments into an entire feature-length film, and while it might seem slight at times, the approach is wonderful in its own right—a master filmmaker taking his time and embracing the silence.