Good story and strong acting are a killer combination in this independent film.

Allen covers it all with intelligent dialogue and unexpected moments of clever visual storytelling.

Tarzan is a blast for both kids and grownups like myself and gets my recommendation.

Julie Christie gives a fabulous performance of mysterious, unclear depth as Fiona.

The Friend’s House is Here provides an instructive window into the challenges of life in Tehran, as well as an opportunity for Westerners to share these moments and empathize with the people there.

Corbjin avoids delving into Gahan’s dark history (enough docs have done that). Instead, he has created an affecting, at times exhilarating tribute to the band, and to exorcising one’s demons through art… be it by making it or discovering it.

The Book of Delights is the meeting of mindful deconstruction and visual intrigue about falling and being in love.

If you liked Children of Men, chances are you will enjoy this film. It has the same blend of despondency and lyricism, hope and despair, beauty and violence.

Instead of establishing and repeating the same flavor, we are presented with a sci-fi-tasting menu of increasing complexity.

If you’re looking for an on-the-edge-of-your-seat thriller, this is it, but you also might find yourself very agitated if you’ve been in a similar situation.

The festival's audience is as integral a part of the proceedings as the music, and we get a rich portrait of the wide variety of pranksters, iconoclasts, and freaks that descend upon the West Country of England in the hundreds of thousands every year. Glastonbury offers an exhaustive look at what remains the largest event of its kind.

A Quiet Place: Part II offers another round of impressively staged set pieces, a few cheap (but damn effective) “gotcha” jumpscares, and a heavier dose of those spindly, flower-headed aliens.

The Trouble With Jessica is like a tray of fresh out of the oven pot brownies: demented, dark and delicious. Get yourself a mouthful of this movie.

Generous with its humor and spares no sacred cows, especially when it comes to the American political system.

As entertaining and surprising as the film is, however, nothing can prepare one for its rousing final fight scenes.

While this film is certainly not the most uplifting, Amongst the Wolves does provide satisfaction with the way things are wrapped up, which makes it worthwhile to experience more than once.

In terms of narrative, writing, and performance, the flick is hardly lousy to watch and will leave an impression, though it may not be everlasting.

Directors Calvin Thomas and Yonah Lewis deserve credit for taking a gutsy leap with the subject matter and delivering without pulling any punches.

Brian’s Song can melt the hearts of the coldest, most emotionally stunted men in the universe, leaving them sobbing in delicate, weeping hordes of sadness. It’s the Old Yeller of adult males, and no real man will ever fault another for getting a bit misty in it’s presence.

If you’re in the market for a handsome acting biopic, Mr. Burton is a fantastic selection. The travails of a lower-class Welsh kid aspiring to become a classical actor is great and heady drama. This is the sort of thing the British excel at.

Stunningly animated, cleverly scripted, and genuinely humorous.

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.

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.

As far as horror goes, Anything For Jackson turns up the tension as well as the best of them.

If you’re intrigued by watching Jack Quaid and Jeffrey Dean Morgan come together to solve a mystery, then Neighborhood Watch will not disappoint. When you get a comedic pair together like Laurel and Hardy, Jackie Chan and Chris Tucker, or Jack Quaid and Jeffrey Dean Morgan, it’s timeless.

You either get it or you don't.

A low-key, warm-hearted-but-razor-sharp study of ambition, friendship, and humanity’s inherent differences – be it between two friends or two cultures – The Saint Bernard Syndicate leaves a lasting impression and is eminently rewatchable.

A haunting score and beautifully atmospheric cinematography by Kim Hyung-gu round out the achievements of this unique and engaging Korean thriller.

Kalki 2898 AD is the kind of widescreen majesty that makes the butter of your popcorn shine in the dark. There isn’t anything else like it in the movies right now, so jump right in.

Full of looming symbolism, House of Sand is a brilliant tale following a family that brings a group of settlers into the middle of the desert to start a new life.

While director Alison Reid tries to be a bit more engaging than a simple talking-head documentary, with varying success, the movie has earnestness and heart. So, even with its issues, it is still a solid good time.

A fun time and a must-see.

Would that we could extract the essence of this utterly enjoyable film and distill its creativity, intelligence and originality into a serum which we could then inject into all the tapped-out Hollywood screenwriters and directors out there.

Funny, uncomfortable and cleverly insightful.

Meditations on the toll of waiting, the damage of estrangement and the fickleness of trust echo in a well-acted, assuredly directed, sometimes brutal, watch.

You & I is a fantastic tale of modern romance.

Kai Luke Brummer is a revelation in the central role, his introverted performance buoying the plot with nuance and charisma. We navigate through the horrors right alongside him, and we root for him, and in the end, despite a striking and sad realization, we gaze at the ocean and wonder if there’s hope for humanity yet.

Romantic comedies have become something of a tired staple in indie filmmaking, these days. Yet, odd as it may seem, it's the unlikely interracial geriatric chops on display in The Annihilation of Fish that breathe new life into the genre.

If you’re in the market for a great slasher film or even just a movie about how people used to make movies, seek out MaXXXine. It’s absolutely a great two hours at the theater.

As a documentary, Rodents of Usual Size makes good use of animation illustrating how Louisiana got itself into this environmental disaster. The filmmakers interview a wide variety of citizens who come at the problem from their own unique perspective. They also capture some of the most once beautiful and now devastating images of Louisiana itself.

One of those films that makes you walk out muttering dark things about the future of the human race.

The Racer will attract fans of cycling and those who enjoy a good drama, as it’s a fresh take on the sports drama formula.

Crime 101 will get your pulse pounding on a wild ride.

Ready or Not 2: Here I Come may not be as sharp as the first film. But what it lacks in precision it makes up for with enthusiasm. The kills are inventive, the pacing rarely slackens, and most importantly, it remains tremendous fun.

And Then We Danced works because of a tender and heartfelt performance by Levan Gelbakhiani.

While it would be impossible to end A Thousand Cuts on a positive note, Diaz holds fast on her subject and Ressa’s determination to fight for what she believes in. This lights a path towards hope and the belief that truth and justice will ultimately prevail in a climate where lies spread faster than facts.

Strange Harvest is a brutal, well-crafted descent into depravity that walks a tightrope between realism and horror fantasy. For fans of found footage, true crime, and occult horror, this is a grisly treat.

Watching how it was a struggle to get people into the seats even before the pandemic and all the stress that Greg and Tish Laemmle endure is a little tough to watch at times, but Only in Theaters is essential viewing for every filmgoer.

This is a story about purgatory, though it goes by the name Camp Pendleton.

The core cast, Pine and Foster especially, are superb, while the screenplay gives them plenty to chew on. At a quickly moving 105 minutes, the film is worth the time investment.

I wholeheartedly recommend this film as a glimpse into the effects of war on female soldiers, and also as an opportunity to see WWII from a perspective that isn’t American. It has some devastating scenes, which makes sense considering the subject matter, but it also has a faint glimpse of hope that makes the film all the more worth watching.

Rodriguez knows kids. No doubt kids will be clamoring to get acquainted with Spy Kids 2, the best sequel to emerge from a children’s franchise in the past several years.

It’s easily the best movie of the summer so far. Sony has obviously given Raimi more freedom to run the show, and the results are very entertaining.

Nick August-Perna’s documentary, Tell Them You Love Me, is a heartbreaking story in so many ways. Hope can be a powerful weapon, leaving devastation in its wake.

Other than being dense in story, Horizon feels like a big epic western. It feels cinematic on the big screen, and the sweeping landscapes are gorgeous. The acting is top-notch from top to bottom.

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.

If you want to hear the story of dreamers fulfilling their outlandish dreams, this is the film.

With unflinching honesty and ardor, this soul-stirring, wonderfully offbeat documentary reminds you of the power of family, positive thinking, and art. Demonstrating filmmaking prowess, Meyer is indeed an artist and already an extraordinary human being.

The thematic development is a clever move on the filmmaker’s part, though the plot’s revelation comes as a heavy blow, not swift enough for the film that frames it.

Suffice it to say that MacDonald has made the finest mountain climbing movie you are likely ever to come across. The cinematography is awesome, the score by Alex Heffes terrific, the reenactments remarkably credible.

The difference between “Juno” and Jennifer’s Body, I realized, was that Diablo Cody's disgustingly smug dialogue -- supposedly so winning when spoken by Juno -- is much easier to swallow when it comes from characters who actually are disgustingly smug -- like Jennifer.

Hard Miles is standard fare, but it is well-made. The cinematography is fantastic, capturing the rush of freedom a bike can offer. The score is also a great addition. The cast is solid, and the story is a sweet, engaging affair.

Tony Scott steers the movie like a rocket and it never slows down.

The thrill of Hot Fuzz is the chemistry between Nicholas and local oaf Danny Butterman, who is an action film aficionado and finds Nicholas' stories utterly engrossing.

It’s a story of very flawed people who followed the pied piper to a new world that doesn’t exist.

While nothing horrifying happens within the first half hour, what comes after is enough to give you some anxiety for at least the rest of the day after watching it.

In Standing Up, Falling Down, this new style of comedy is light on laughs, but big on heart, weaving together a story of hope, redemption, and second chances with a solid cast led by Ben Schwartz and Billy Crystal.

There might have been time for some plot-holes to be fixed, characters to be developed deeper, or some such, but Undergods manages to mesmerize and captivate every minute of the way with a bewitching visual palette and an appropriately fitting electronic score

Unpredictable, impassioned (despite the cold tone), and highly artistic, Ladyworld might contain a few amateur touches here and there, a few lags in momentum (and an utter lack of mainstream appeal), yet it’s cerebral and forceful, and will have you deliberating its themes for days after.

All told, Crazy Love is a rarity in documentaries; it's fun.

To its credit, Working Woman is laser-focused on its theme. There are no superfluous characters or side-plots. There’s no best friend to confide in, no hilarious sidekick. There’s just a woman who feels all alone like there’s no one she can trust, no one who will understand her.

Portman delivers a compelling and unabashed performance, one that is award-deserving.

Virginia Minnesota prefers to wade into darker waters for the sake of more compelling, everyday drama.

Good movies make you feel, even if that feeling is not good. Chon ensures you’ll have feelings at the end of Blue Bayou, just not the happy ones.

Rocks’ moments of brutal realism depicting the seriousness of its protagonist’s real-life drama will hit you hard or make you wonder why life is so unfair.

Somehow the ridiculousness keeps audiences engaged and begging for more.

Bloody Oranges somehow registers itself as an important film and proves significant in every cinematic sense.

Domino: Battle of the Bones is a bit quirky, utterly ridiculous, and intentionally offensive to just about everyone who watches. However, these aspects work in the film’s favor and reward the cast and crew with mild success.

The Owners is an uncomfortable and pointed satire that will remind you how and why some things never change.

Heartfelt and genuine sentiments abound, making Petite Maman one of the finest titles of the year, one that can appeal to the (weird) kid in all of us.

In Stay Human, Michael Franti examines the idea of staying human in these times when we’ve all embraced cynicism and fear over the optimism and potential of the human spirit.

Sanjuro doesn’t offer as much complexity and nuance as its predecessor, but it’s still a fun ride that shows Kurosawa’s consummate skills, even when he was simply satisfying Toho’s constant demands that he make more commercially-appealing films.

The Beast is a bold, creative, and heady dystopian film that clocks in way too long at 145 minutes.

Gringa is an unusual hybrid of dysfunctional family drama and an escapist sports movie.

Stevenson’s story is engaging as the David versus the Goliath of the state’s district attorney. There are a lot of great actors on display and put together it feels like an A-List repertory company featuring Michael B. Jordan, Brie Larson, and Jamie Fox, to name a few. Then add some outstanding supporting veteran and up-and-coming actors, Just Mercy becomes a solid drama and film.

While Buffaloed is light on laughs, it’s Deutch as Peg that is the real joy to watch. She creates a character that is unique, energetic, and thoughtfully developed.

Despite periodic bursts of action, The Last Duel has a long wick that burns slowly toward its violent conclusion. It’s a wisely protracted take from writers Affleck, Damon, and Nicole Holofcener that allows the audience to consume its narrative details as well as its performances and Scott’s stirring visuals.

Mustang Island was written by Elrod and Nathan Smith, who both must know the unpleasant and often comical pains of trying to move on, and the “why me?” shit luck that comes with trying to get over an ex. They create an organic and delightful atmosphere for us while we spend time with the three stooges.

One could say that I Love Us can’t decide what it wants to be. Is it a crime thriller or a family film? This split focus is a legitimate criticism, but somehow director and lead actor Danny Abeckaser manages to pull it off. It’s far from perfect, but it works well enough.

The movie may take time to develop and needs a little more punch for its payoff, but it is still worth your time as a genre-mixing indie.

American Hangman makes a mystery out of a few things that are too easy to guess, so it takes a while to get going. However, thanks to sharp direction, an original take on the dramatic police procedural, and a truly excellent, very game cast, the movie is a worthwhile 100-minute watch.

A brutally candid and well-intentioned documentary that exposes the modern faces of those embroiled in antisemitism.

Guardians of the Galaxy: Volume 3 has way too much story crammed in its two-and-half-hour runtime, but the reason to see the movie is the Guardians themselves and how they’ve grown and evolved since they were first introduced.

No Address is very much an issues-based drama. Its purpose is to provide a soul behind the statistics.

The climax of this vampire romance delivers the expected level of carnage and lots of the red stuff.

The heart of the film and the source of this thriller’s tension is the interplay between the two brothers, played beautifully by Derek Phillips and Josh Crotty.

OBEX is an earnest, strange, and delightful adventure.

At its heart, The Senior is about forgiveness and second chances.