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.

Attachment explores the joys and tribulations of new love, splicing a delicate love story with truly horrifying elements.

Somebody I Used To Know—like life—can’t be clearly defined. Instead, it embraces its messiness and unpredictability, and the very harsh reality that “life happens.”

There is no comfort when watching 20 Days in Mariupol, but it's the bitter pill we must all swallow to remind ourselves of what people are going through every day in Ukraine. Chernov's account is but a snippet of the war and should galvanize people into action.

Its greatest strength lies in its simplicity, but that might also be where it falls flat for some.

Song’s work here is incredible, as this story of the past and present, and what it means for the future is a carefully handled story told with love and heart. Greta Lee, Yoo Teo, and John Magaro make an incredible trio of performances, each of which hits on a unique and important perspective on this tale, in a film that you won’t want to leave, and will stick with you for long after.

It is in its willingness to peer directly through the looking glass that most other science fiction works would blink in the face of where Animalia taps into something that remains as spectacular as it is elusive.

Sachs’ story comes to life thanks to these three excellent performances that aren't afraid to explore the selfishness and desires of passion, in a story that finds the power of shared pain and love.

A Little Prayer is often a fairly still story, but it all builds to a beautiful moment between Bill and Tammy, where we get to see the true impact of MacLachlan's tale hit the audience in full force.

Williams’ story of coming out and acceptance is both riveting and often touching, and Bernal gives quite possibly his best performance in this beautiful story of finding yourself and becoming who you were always supposed to be.

Theater Camp isn’t without its weaknesses, but the hilarious cast—like their characters—are game for anything, and the jokes are flying fast and mostly landing.

Even though the flaws in Last Dance are glaringly obvious—not only is this the worst of the Magic Mike franchise, it’s also clunky in a way Soderbergh films rarely are—it’s still hard to not get caught up in the celebration of it all.

Sometimes, Deshon’s obsessive attention to detail drains some of the fun from Daughter, and the movie might burn too slowly to please every horror fan. Still, the movie is a rare achievement, turning a small budget and a simple story into a cinematic experience we can unravel to find new things over multiple viewings.

The way Huesera favors metaphor above clarity will undoubtedly push some viewers away. Still, horror fans willing to approach Huesera with open hearts will be gifted a unique experience that exposes the violence of reducing women to their role as mothers.

You Hurt My Feelings is the type of film that reminds us why Holofcener is one of the best writers of comedies today, and that her ability to write films with such small consequences can often feel like a massive achievement, as these are situations that feel honest and human and wholly earnest.

Little Richard: I Am Everything has to do a lot in its relatively short runtime, from exploring the origins of the musician, explaining both sides of his personality, and also diving into Richard’s influence on the future of music. Thankfully, Cortés’ documentary handles all this beautifully, and will make the viewer want to immediately learn more about Richard, his extremely fun work, and the life that impacted so many around him.

Jamojaya is at its weakest when it pushes its music industry storyline to the forefront and the family drama into the background. But Imanuel and Unru's performances are enough to give this film praise, and it will be exciting to see where Imanuel goes next in his burgeoning acting career.

I hope that someone else decides to tell the story of Kim's Video again one day, because Kim's Video by Redmon and Sabin is incomplete, and a little too self-obsessed to do such an interesting story justice.

Eileen is an intriguing little story that shifts and alters the further it goes, playing with the audience, and giving them the opposite of what they’re expecting. Eileen isn’t going to be everyone's cup of tea—especially those who think they know exactly what they're getting themselves into—but Eileen is an admirable bit of defiance that is a joy to live inside for 90 minutes.

With more time and focus, Aum could have been the next hit series bought by a streamer, but as it is now, it doesn't dig deep enough and leaves an incomplete narrative about this deadly cult.

Englert has talent, and there's ambition and chunks here that work in bits and pieces, but unfortunately, Bad Behaviour is too scattered and too unfocused to add up to much at all.