Hunter Gatherer is by no means perfect, but it leaves an impression that will linger for days to come, as images of Ashley and Jeremy continue to haunt the mind. Hunter Gatherer is that rare film that sneaks around the corner and smashes headlong into the viewer.

For as well-intentioned as Jarecki may be, The King starts with a conclusion and works backward from there, and the results are more than a little tenuous.

Somewhere You Feel Free is a beautiful musical tribute to one of rock’s greatest figures, gone all too soon. Just don’t expect to learn too many deep dark secrets about the man in the process.

It may not have the sharp edges of a classic ’40s noir, but del Toro’s softer touch invites us in like one of Stan’s credulous marks.

For a film that takes such pains to position itself within the feminist tradition, Belladonna of Sadness has a bad habit of lingering on the body of its protagonist, coming across as more pornographic than progressive, more exploitative than revolutionary.

Alone is exactly what it sells — a taut, hot-wired survival thriller. With its gaunt storytelling, meaty characters, and high-stakes action, the film delivers on all fronts.

Paramount+ should have thrown this movie a theatrical run; it may more or less amount to an 86-minute pilot episode for the new series that’s coming soon, but it’s also one of the funniest movies of the year.

It’s winning enough that you can spot its flaws and still don’t really care. Much of that is due to Kaling’s script, and particularly her writing for Thompson, who gets a role worthy of her dramatic talents, and her oft-underused expert timing.

Weird is an unapologetically ridiculous and over-the-top romp that’s sold by people who are completely, sincerely, and unfailingly committed to the bit on every level. It’s not particularly groundbreaking or subversive, but it doesn’t need to be. It’s smart (or so silly it’s smart), expertly executed, and genuinely funny.

The World’s a Little Blurry is an honest depiction of what it’s like to be a teenage girl. What makes that successful portrayal even more moving is that this particular teenage girl’s life is so untypical to begin with. Although the film runs long, it’s hard to point out any scene that could be cut, because every moment adds to the collage that is Billie Eilish’s world.

It helps that Hilditch has Jane in the central role. Along with Carla Gugino’s turn in Gerald’s Game, Netflix has two of the strongest performances in any King adaptation to date.

At two hours, it can drag, and the mid-budget nature of the thing can leave it feeling less than ambitious. But there’s just enough inventiveness here to make it stand out in a packed field, and to cement Prince-Bythewood as a director who can handle bloodshed as adeptly as character.

With its wacky space shit, off-kilter gore, creepy atmospherics, and hammy breakdown, most of which happen all at the same time, Colour Out of Space is, inarguably, one hell of a trip. It’s just not a trip that everyone is going to enjoy taking.

While one wishes the beats were a touch more oiled, the film’s strengths reside outside the confines of narrative.

Berlin Syndrome isn’t a sensational film; the emotions on display are warped and scarred, but rooted in identifiable desires. In some ways, this makes their impact that much more ingrained.

The Day Shall Come remains a riveting watch, though, if only for Morris’ deft, lightning-fast pace and the cast’s mastery of his language. ... The problem is that the film’s humanity is often eclipsed by its big-picture message and satirical edge.

Though the plot might feel a bit overly complicated, given the level of Serious Business being discussed in serious tones by these characters, it never drowns out the key emotional connection. There’s nothing seismic here, just a colorful, enjoyable yarn by one of the best cinematic confectioners around. One with some real heart to it.

Louder Than Bombs is a ghost story disguised as a domestic drama.

Unfortunately, the 99-minute run time on Norwegian zombie drama Handling the Undead feels infinitely longer, and lands more as a meditation on grief than an intriguing entry into zombie cinema.

Despite a striking production design and the strong performance by lead actress Niamh Algar, the narrative familiarity of the second half and restrained climax let the film down.

If you’re looking for a reinvention of the biopic formula, there are plenty of films this season to set you up. If you think there’s still room for the traditional ‘true-story’ drama, Lion proves these stories still have a little life left in them.

What happens throughout The Miseducation of Cameron Post shows exactly why conversion therapy needs to be banned. It’s emotionally abusive, and is harmful to the vulnerable LGBTQ youth population.

Even if Rocketman is one of those films where you walk in knowing almost exactly what to expect, it still manages to wham, glam, and occasionally elate.

The Little Hours is reasonably entertaining, but it hints just enough at something deeper that it may well leave you wanting.

Cronin gets that the Evil Dead franchise doesn’t have to be limited to one wisecracking, lantern-jawed battle with the forces of darkness; the Book of the Dead, and its ability to turn those you love against you, is enough to hang a film on if you do it right.

The whole movie is affecting, so much so that Pennywise doesn’t even matter. In a way, he’s more of a McGuffin to the real horrors at hand, from parental abuse to violent bullying to the unnerving revelation that life has only just begun.

Highlighting the reciprocal nature that many musicians share with their fans in unprecedented fashion, the film’s raw and authentic approach is as engaging as Charli herself.

Director Kay Cannon‘s perspective is the film’s biggest asset, as it freshens up the traditional formula’s inevitable focus on love, consent, and orientation in ways that maintain the sub-genre’s trademark raunch.