The main characters of Femme are more than one-dimensional representations of the part they play in society. They are complex human beings, filled with contradictions and trying to get by despite past traumas.

Director Margarethe von Trotta delivers a thoughtful exploration of love in a patriarchal society, which ends up being surprisingly hopeful considering how cruel reality can be.

While Disco Boy is gorgeous to look at, a more coherent script would have done wonders to hold the movie together.

The Survival of Kindness might be too abstract for its own good, a creative decision that will alienate a good part of its potential audience. Still, this is a remarkable return for de Heer, as The Survival of Kindness lingers with you long after the credits roll, forcing the viewer to reflect on the tough questions of race and power it explores.

Everything is glued together by another Dafoe performance that proves he’s one of the greatest actors of all time, especially when given enough room to tap into the lunacy of his characters. In short, Katsoupis managed to craft a crowd pleaser that still has something interesting to say.

Ultimately, there's much to enjoy in Sharper, with a premise that offers intrigue and a strong group of performances, but it falls flat at the end, unwilling to dig deeper into its characters or the meaning behind its story.

Sweeney's take on Winner reflects the emotional whirlwind the young woman went through after FBI agents showed up in her footsteps. Thanks to her, Reality is a mesmerizing experience that doesn’t hold any punches and will shake any viewer to their core.

While Manodrome doesn't always manage to keep steady pacing, it still serves as a unique character study for Jesse Eisenberg's angry and destructive young man.

With BlackBerry, Johnson manages to craft a thrilling and moving story about friendship, pride, and the brutality of the free market.

By appealing to the more casual moviegoer without losing the best things she brings to the table, Miller has birthed her best film yet.

There will always be much to the film that is too distant, but the moments where Stolevski pulls us in closer make its portrait of passion resonate where it counts.

Director Frances O’Connor effortlessly immerses the audience into Emily’s heart, soul, and mind in this refreshing, storybook-like origin story for a reclusive, misunderstood, and underappreciated author.

What could've been a halfway decent dumb idea becomes a full-on nightmare of bad choices and terrible filmmaking.

Luckily, Neeson’s performance is compelling enough to keep you interested, even though as the case unfolds you realize that it’s going in a pretty obvious direction. That’s why the movie greatly benefits from its cast, whose undisputable talent fire up the screen and make you feel like the trip to Golden Age Hollywood — which was beautifully recreated with a grade-A production and costume design — was worth your time.

There's a fascinating world to explore here, and Ant-Man finally gets close to the full realization of the potential of his character and this concept, but it all, unfortunately, gets overtaken by the Conquerer. Quantumania is a promising, but shaky start for Phase 5 of the Marvel Cinematic Universe, it's just a shame it comes at the sake of the little guy.

A stunning embrace of abject horror that peels back the layers of skin just as it does those of the mind, The Outwaters stumbles upon a brutal brilliance in the desolation of the desert.

Both in terms of the way he lays out all the information and the craft of the filmmaking itself, Kohn shows greater patience in drawing everything out. That it teeters on the edge of the grim acknowledgment that even its truths may not be enough to change our perception of this industry and the power it holds makes it all the more enthralling to behold.

Smith is still a competent director, and Consecration can boast some moments of brilliance sprinkled all over it. However, the messy script drags Consecration down, and fans still expecting a new Triangle will have to wait a little longer.

At Midnight is a rom-com that loves the hell out of rom-coms, and rightly so — the genre’s at its best when it’s not trying to be clever or smart or better than those that came before it, when it fully embraces the warm, fuzzy feeling that comes with watching two people fall in love, and Feingold’s script knows it.

Your Place or Mine has a decent premise with a great cast and is fun at times with moments that are sweet and showcase great potential for an enjoyable rom-com, but it never hits the mark and only works in pieces.

80 for Brady is not the new golden standard of sports comedies, but it was clearly never trying to be. It's cute, silly, and light, all things that a comfort movie should be.

The indie dramedy Who Invited Charlie? washes away any reservations you might have about a movie set in the COVID times and, more importantly, lets Adam Pally show us what he is capable of.

Throughout all of it, Ebrahimi gives a performance that, even in immense isolation, tells a whole story on its own and leaves a lingering impression long after the film itself comes to a close.

McGann weaves together an emotional and tragic tale in the third act, one that hits hard after following the story of these two lovers throughout the film. Mixing this with the magnificent footage of an alien underwater world, one that few of us will ever see with our own eyes, and there is a lot to like.

Landscape with Invisible Hand is certainly a mixed bag that isn’t nearly as tight as Finley’s previous work, but the bold attempt to make something so unique and singular makes this wild story ultimately work.

A good thriller will ramp up the anxiety with each step as it hurtles towards its conclusion, and Fair Play does not let up until the very end, offering a twisted and toxic tale of a couple driven to the brink by a shift in power dynamics.

That’s the beauty of what Carney has created here, a film that wraps you in and absorbs you with its loveliness and charm, to a point that you don’t want to leave its presence.

While Park injects his own joie de vivre to his on-screen performances as an actor, there is a distinct lackluster quality to Shortcomings in its biggest moments. It feels, at times, generic. The story, penned by Tomine, still holds the same feelings for me as the graphic novel, which is to say that at least they provoke thought, but Park’s own style feels far from refined.