Adieu Godard is generally a blast. Cinephiles will love it because it should, without fail, bring to mind our own journeys into “challenging” cinema. Casual viewers not well-versed in the New Wave catalogue will still find plenty of enjoyment in the chaos that erupts as a result of the backlash against the film.

The film explores themes of free will, destiny, and the tales that we consume while also revealing how they become part of us as we pass them down to future audiences. Ultimately, however, Three Thousand Years of Longing is about bearing the weight of pure love with no one willing to ease the burden — yet resolving to give it away freely nonetheless.

I was enthralled with Bardem’s performance, even in the subtle moments. This is important because The Good Boss focuses on him for almost the entirety of its one-hour and fifty-six-minute runtime. The rest of the cast is excellent as well.

I adore Plaza as a unique and magnetic actor, but she wasn’t given enough to work with here. Likewise, for the usual affable yet conflicted characters that Brie is so good at portraying, there’s not enough meat on the bones of the role here for her to sink her teeth into. Spin Me Round is like going out to dinner and expecting an authentic Italian restaurant but instead ending up at the Olive Garden.

The ambiguity in this glacially-paced but atmospheric and at times striking little film doesn’t so much tantalize as frustrate – only because the filmmaker duo approaches something so much deeper, wiser, and subtler.

It’s a showcase for what great independent filmmaking is all about, taking an interesting concept and applying excellent acting and directing on a limited budget. I will say that the ending felt a little weak to me, but the film is akin to life in general in that the most important aspect is the journey.

Take Me To The River: New Orleans is edited together in a way more organic to music than traditional documentaries, which works wonders.

The proceedings have that perfect narrative balance of a simple fairytale, leading to baffling visions and fantastic ideas.

While this adaptation isn’t in the same league as Gordon’s or Richard Stanley’s Lovecraft work, it does have the hideous glow that horror fans will be drawn to.

Survive The Game may tell an oft-told story, but the script avoids most well-worn tropes in favor of a no-frills actioner. Said action is exciting and fun throughout, as the game cast (especially Murray and Ward) capably bring the proceedings to life.

It Snows All the Time resembles a prolonged PSA with all the production values and depth of an infomercial.

The finale of Zero Avenue is as brutal and wild as one would hope. Even though the first five minutes are a little patchy, the rest of the film easily overcomes those issues. The two leads are great, the plot is very original and exciting, and the director maintains a tense atmosphere.

What works is the relationship between Mahilo and Chisato. The characters are so well defined and contrasts one another perfectly. The depiction of their friendship is just as good as the fight scenes. Action-wise, it really does take a while to warm up, but getting to the final battle is worth the wait.

Daisy Edgar-Jones is the star here and gives an incredibly endearing performance.

There’s a throughline in this country’s history that goes from The Asian Exclusion Act to Chol Soo Lee’s case to publicized cases in the last few years of hate crimes against Asians. Free Chol Soo Lee reminds us that when we sit on the sideline and do not actively fight against discrimination and the stereotyping of Asians, real people, such as Chol Soo Lee, suffer.

We Are Living Things unravels gradually, methodically. It could’ve used a bit more tension and slightly higher stakes, for the silences in-between its words aren’t as weighty as the filmmakers seem to have intended. Yet it’s refreshing to see a love story rooted in reality, despite the sci-fi undertones.

When I Consume You is stunning to look at and beautifully acted. Even though not everything makes sense, Ewing and Dumouchel ensure that every emotional beat feels honest and the entire film breezes by, as it is startlingly original and unique. It is not perfect but it is ambitious and touching, and that is enough.

At 90 or so minutes, Prey is a lean, mean machine without an ounce of fat on its muscular body. It’s a reminder that this land was populated long before we, the original predators, overtook it, a subtle treatise of “man as predator,” but mostly, a vicious, wildly entertaining flick that’s bound to become the new classic in the series.

What Josiah Saw examines religion, trauma, grief, sanity, and familial bonds in a truly unique way. Grashaw elegantly balances the heavy drama, action, and horror moments, crafting an unforgettable journey. Dilts intelligent screenplay is brought to life by a stunning cast giving it their all in every scene.

Most Westerns like to have a slow burn, but not this one. Canfield includes constant action here that keeps the story from dragging. The nice thing is that the action is there not just to have action, it has a purpose and helps the narrative move along.

Mija captures the true essence of everyone involved, and nothing appears to be falsified or altered for false dramatics.

Everything is immersed in murky browns and washed-out grays; the film is so devoid of color that it’s almost black-and-white. The by-the-numbers script by Matthew Rogers careens along, every so-called twist and turn predictable. No flair or creativity seems to have been applied to any of it.

Ultimately, I walked away wishing the story would leap out of the good category into greatness. But grab your young kids, lower expectations a bit, and you’ll have a good time with the animated antics.

Messaging aside, there is such great nuance in both performances of Carice van Houten and Marwan Zenzari. You’re continually guessing their state of mind in a true psychological thriller manner.

The main actors infuse A Love Song with a sanguine authenticity that keeps things simple narratively. However, it speaks volumes about love, loss, and the desire for connection, however fleeting, and whatever stage of life one is in.

So suspend your disbelief, get a little intoxicated if you’re of age (if that’s your thing), and you’ll most certainly enjoy this wildly entertaining piece of trash.

This documentary is an eye-opener to the future of this ever-shrinking yet growing world.

How to Please a Woman is not the usual romantic comedy that everyone expects to see these days. It is trying to connect with a specific audience, and I think it is successful in doing so.

There is a great deal of heart in My Old School.

It is a magnificent documentary on art and how artists interact with the world.

While the narrative features magical realism, it lacks levity, which will probably make it less appealing to a select few. Nonetheless, this is something uniquely special and a perfect, alluring example of all that is wrong with the world we’re living in.

Official Competition is a bit long and could have used some more of the offbeat humor that it excels at. But overall, it’s a worthwhile journey into pulling back the curtain satirically on movie magic.

Kusijanovic’s feature-length debut is nothing short of revelatory. Murina is the perfect summer film. Beautiful scenery, nuanced performances, and canny filmmaking provide one of the most memorable coming-of-age stories of the 2020s so far.

Clara Sola is an intriguing film ripe with symbolism and strong performances.

Resembling a gradual immersion into a fever dream, the film slyly pays tribute to surrealist greats like Alejandro Jodorowsky and Dario Argento (“presented by” the latter director, it wears the tag proudly), yet also introduces a unique new talent with a fresh, distinct vision.

The pace is tight, and the film’s last scene is a fantastic conclusion to the story: a little bit Telenovela, a little bit grindhouse, and 100% quality.

Anyone who likes gothic horror and science fiction will appreciate what Kelsey Egan and Emma Lungiswa De Wet offer. They create a beautiful and horrible world in which you cant help bet get lost. As I said before, it is my favorite film of the year so far, so if that carries any weight with you, seek this gem out.

For a family film with after-school-special vibes, it lands exactly where it should. Dakota and Alex take center stage with a story and characters that are engaging for kids and make for distracting cinematic “comfort food” for adults.

With Brian and Charles, Archer delivers a heartwarming and timeless film. The witty and clever screenplay efficiently sets up Brian’s quirky behavior in a touching and funny way.

Moon, 66 Questions is a movie made for adult children reluctantly forced into the care of their parents. Lentzou brings their struggle to the big screen with great empathy and introspection in that says you’re not alone.

American Carnage has its eye on the right target; it just misses the bull’s eye.

An inkling of an inventive concept lurks somewhere deep within the murk. Unfortunately, you'll be hard-pressed to spot it amidst all the meandering diversions, prepubescent humor, imbecilic dialogue, and curious casting choices.

It’s a good thriller with excellent performances.

Although the idea isn’t fresh, the performances and visuals make up for the been there, seen that story at play.

The oddball, fun factor potential is present in Nude Tuesday. But as it stands, it’s just another slightly strange, will they or won’t they get back together, love story.

Louis C.K. should’ve applied sandpaper to the movie’s rougher edges; he should’ve adopted the jazzy, purposefully meandering, “anything goes” vibe of his previous outings. The comedic drama starts off like that, then collapses in its last third in a heap of sentimental mush.

Reflection is a great war drama for those who like slow cinema. It is also a contemplative experience for those who love a deep and multi-layered cinematic experience. It does not bombard the audience with anti-war propaganda; neither does it drive to a conclusion. It just paints a picture of the war and lets the audience reflect on it.

Caged Birds is a masterpiece from start to finish. The directing is strong, balancing a lot of tones at one time. The writing is strong, with two likable, engaging characters at the forefront. The visuals and music are excellent, elevating the characters and atmosphere masterfully.

It’s scary, intense, and moody. Derrickson’s first film since Doctor Strange (the first one, the good one) is one of the best horror films in a very long time.

Overall, it’s a worthwhile journey.

Cane Fire is a fascinating documentary, and I would recommend it to any American to watch. We should see what is wrought by claiming an archipelago from the people who actually owned it.

Abandoned delivers tension with a more nuanced approach to a particularly emotionally vulnerable stage of life.

Sometimes whimsical, at others quaint, flirting with darkness but brimming with childlike naivety, the plot provides a hell of a tonal whiplash, never finding its rhythm.

Thanks to the stylish direction and strong cast, the film is sure to terrify and delight everyone who dares to play along.

The Story Won’t Die gives us hope that what happened in Syria won’t be drowned out or forgotten and that bold artistic expression that disrupts the West’s status quo will also not die. These young Syrian artists keep such hopes alive.

Lost Illusions is certainly nothing we haven’t seen before, at least narratively. But it’s done very well. Sometimes, you just feel like having a good ol’ soufflé.

Rounding can be a tough film and one that puts its viewers through a lot, but the investment is well worth it.

Leemans puts in one of the best performances I have seen by an actress playing a male prostitute while actually pregnant. Likewise, Hentschel puts in one of the best performances I have seen by an actor playing a pregnant woman tripping on mushrooms while buck-a*s naked. The two completely inhabit each other’s characters, never sinking down to ridiculing them no matter how hard the onslaught of comedy gets.

Medusa is an electrifying work of art that elevates its already elevated pop influences, a transcendental tableau of the true-life horror of female oppression.

With an incisive script that trifles with emotional and thematic transparency, Krippendorff authentically captures what it is like to grapple with one’s burgeoning maturity and identity.

Fortune Favors Lady Nikuko explores what it’s like to be in the shadow of your parent, the lessons imparted by our elders, the value of a support system among women, the power of literature, the appreciation of food (frequently referred to as “yummy”), and the importance of staying true to yourself. Eat that, Pixar.

The filmmaker confidently guides us to a conclusion that really isn’t a conclusion at all but a new beginning. These men may not be all that wild, but Daneskov’s film is just loopy and daring enough to qualify as such in the best way possible.

Returning in Lightyear is the trademark Pixar sense of humor. Like every film, all jokes are meticulously crafted in a way that will make children laugh and adults laugh harder.

If your first exposure to Rasoulof was There is No Evil, you may feel a bit let down by A Man of Integrity. That is not to say that this is a subpar film, as it is definitely a satisfying drama.

The massive amount of information Echoes of the Empire: Beyond Genghis Khan has to offer is split between several subjects. While all these facts are bound to pique curiosity, it sometimes forgets to satisfy its audience by not focusing on more of each element.

The filmmaker’s careful modulation of tone and rhythm, how gradually he reveals mysteries, and the mere fact that this is a dialogue/character-driven horror tale make it hard to believe that this is O’Brien’s feature-length debut.

I would very much recommend everyone watch this and make their own decisions. There are times when Walsh gets a little corny, but overall, he presents many facts and opposing arguments that are, at the very least, something to think about.

As a comedy, Ninja Badass serves up one hilarious joke after the next.

Preposterous but entertaining, Jurassic World: Dominion not only finds new ways to inspire the awe and wonder sorely lacking from previous installments, but it also recaptures some of that Spielberg magic.

Keeping Company is a delirious carnival ride at the intersection between rapacious greed and murderous insanity, and definitely worth your uncomfortable laughter.

The battles are bloody and gory, and the set pieces are absolutely massive in scale.

It is a straightforward narrative of racism where one man’s courage and refusal to give up provides an outlet for success and reform.

It’s a fitting tribute to Walt Disney and Mickey Mouse and makes you long for a time when storytelling was someone just telling a story.

What The Phantom of the Open has going for it is a sweet and unconventionally inspirational story.

While simple, there is great depth to this uncomplicated story.

We Are The Thousand is a phenomenal music documentary and experience for anyone, especially musicians.

My Dead Dad could have been histrionic, filled with overacting, based on just its plot synopsis. However, thanks to carefully written characters, an excellent cast, and some jaw-droppingly inspired editing, the drama finds the truth in the small moments between people.

It is an offbeat, twisted thriller about love, violence, psychopaths, and redemption. This type of film isn’t for everyone, but that’s what indie filmmaking is all about.

The real miracle of this film is in its performances and direction.

The Hensman brothers’ The Prey: Legend of Karnoctus is really not that different from Crawl, whose CGI crocs were just a smidge more realistic than the concealed-in-shadows puppet here. Now I’d love to put my “critic hat” back on and review a movie by the same filmmakers that doesn’t contain an oversized rat.

As an indie thriller, American Siege does what it needs to accomplish in building tension as the filmmakers bring us into a town where everyone is compromised one way or the other and these compromises cause the town to implode.

Alas, instead of a scathing critique of racial injustice, a revamping of the “man seeks revenge after his family is murdered/kidnapped” trope, the director delivers gratuitously violent, vulgar, clichéd, jaw-droppingly sexist, and racist cinematic bile.

The Belcher family’s adventures are heartwarmingly engaging as they pull together while annoying the crap out of each other. The music is catchy, and the characters are beautifully drawn, both figuratively and literally. The Bob’s Burgers Movie is the best family-musical-murder-mystery for the Adventure Time generation you’ll see this summer.

Sometimes, the greatest tales in rock n’ roll involve bands or singers who haven’t made the Hall of Fame or made the playlists for classic rock stations. If you want both the best sounds or the best stories, you have to search. Thankfully, Bobbi Jo Hart has saved the rest of us a lot of effort with her new documentary Fanny: The Right to Rock. She doesn’t have to exert herself to prove that the early 70s combo deserves a place in the pantheon. The ample performance clips from the era speak for themselves loudly.

Mixing dark comedy and mild suspense, Dan Mirvish’s 18 ½ is not the movie many would expect it to be. But the unpredictability of it all makes this madcap political fiction thoroughly diverting.

An on-the-scene documentary filled with interviews, action, and archival footage, We Feed People is inspiring to watch and understand how one man can activate so many.

Mondocane is the finest Italian post-apocalypse movie ever made.

The blending of animation and live-action is incredible, the pacing is swift, and the cast gives it their all. When combined with the strange but excellent sense of humor and strong characters, the picture becomes a lovely surprise. Overall, Chip ‘n Dale: Rescue Rangers is a fast-paced, humorous, action-packed ride the whole family will get a kick out of.

Although overwhelmed by the use of memes, Diamond Hands: The Legend of WallStreetBets captures a voice and flavor for why GameStop, Robinhood, and WallStreetBets have a meaningful place in history.

Randy Rhoads: Reflections of a Guitar Icon is a fun and fascinating film for people like me who love rock.

Garland is a master at ratcheting tension to an almost unbearable degree, and he flexes that muscle hard in Men. The way he gradually presses the acceleration pedal, allowing the narrative to gather momentum until it almost implodes in its final third, is really quite remarkable.

At a crisp 90 minutes, Cordelia is as enigmatic as its title character for the majority of its runtime. But with its lush cinematography, archaically creepy set design, and outstanding balancing acts from both Campbell-Hughes and Flynn, it’s never muddied to the point of being opaque and remains enthralling throughout.

Kai paints her subject lovingly, hitting the classics like the world’s greatest visual jukebox. Like a Rolling Stone: The Life and Times of Ben Fong-Torres is a fun-filled look at a member of the old school who wasn’t a class clown.

The narrative is mournful about a man who lived a long tragic life, a dark and depressing tale of young men having to hide their sexual orientation and its emotional and psychological toll in carrying their secret into their senior years.

There is plenty of good meat on the bone here for the hungriest horror hounds. If you have some time to burn, the new Firestarter is definitely worth it.

The film teeters on a fine line between soulful triumph and B-movie cheese.