For Sama will be the single most heart-wrenchingly honest film you have ever seen. No amount of acting, elite accolades or story manipulation will ever compare to the genuine truth captured by a woman with a camera in Syria. It is truly an honor and a privilege to see this film.

There’s a lot of emotional and intellectual material that writer/director Josephine Mackerras grapples with in Alice, and she is quite successful in doing so.

It’s the kind of comedy that should not work, but somehow does.

Nothing To Do doesn’t really do much of anything.

Its pace is unbearably slow at times and considering we’re watching a woman essentially wasting seventeen good years of her life chasing a man, tragic is the best way to describe the whole experience.

It’s not for the easily offended or for the squeamish. Porno finds a way to make the disgusting laughable, and I feel that it’s meant to be a fun and slightly cheesy film.

Villains stumbles early on. However, due to the precise editing, excellent design work, and a cast that knock it out of the park at every turn, the film is still highly enjoyable.

Well Groomed serves more to alert you that creative grooming is a thing, but most likely will find it hard to win over those uninterested in the subject.

The Beach Bum is not a terrible movie. The directing is competent, the score is excellent, and the cast is game and hilarious. However, considering who was at the helm, it is not focused enough and winds up with nothing to say.

There’s nothing offensively awful about Ms. White Light, but it lacks a unique perspective.

To be perfectly honest, as a movie Ernie And Joe is a somewhat routine affair. Follow subjects, interview subjects, point, shoot, move on. And most of the time that would be a problem, creating a lack of engagement or energy. However, McShane is intelligent enough to realize that trying to add pizazz to what is being portrayed here, especially in this particular climate of police relations with citizens, would ring hollow. ... Ernie And Joe struck a deeply personal core with me, as I am sure it will with most audience members.

Minghella’s incredible directorial debut is a technicolor, neon-drenched fever dream. It is told with remarkable visual prowess, jaw-dropping editing, a soundtrack to die for, career-best performances from its central cast, and most importantly, heart. This is not to be missed.

Doff balances tones amazingly and directs visually striking scenes with gusto and confidence. His writing subverts expectations while remembering to be a story about humans, all the while being an exciting, nonstop laugh riot. All that makes the film more than worth watching. Then you add this truly outstanding cast who effortlessly embody their characters, and you have nothing short of a masterpiece.

Yardie is a ripping classic gangster tale done right, but that’s only part of the appeal. It goes beyond the narrative into full cultural immersion with music as the window into a time and place.

This hummingbird soars. It has that based-on-a-true-story feel, with all the urgency and verisimilitude of a real-life tale. A sad and visceral indictment of our society under the guise of a thriller, Kim Nguyen’s rousing cinematic elegy will sneak up on you, like its titular moth.

As it stands, despite an impressive cast and gorgeous cinematography, there isn’t much to hold the viewer’s attention.

The film runs long. Director Rick Alverson could have wrapped up this disturbing meditation in less time and still been as effective at painting his precisely beautiful dark image.

Us is a bit predictable and contains a few jumbled auditory edits. However, these small missteps are in the service of an ambitious story that has a lot to say about what divides us as humans and how those divisions hurt everyone. Peele’s direction contains a tight grasp on horror and comedy, balancing both perfectly. His game cast shines brightly in their dual roles, and the ending makes the whole endeavor well worth your time.

The film also has some hilarious moments and some that tug at your heartstrings.

The broad shape of the ending is predictable; by the time you get to it, you could probably write the final confrontation yourself. This a likable, well-intentioned movie, but those qualities don’t take it far enough.

It’s a funny, sad, and ultimately joyous journey into a world that most Westerners will not understand. It highlights the resilience of people, particularly women, in a place where the system has set them up for failure. Yet somehow, they strive, survive, and sometimes succeed.

Marlina the Murderer in Four Acts is simple at a glance, nuanced under scrutiny, and is a damn fine time at the movies.

It is both inspiring and beautiful and makes an even stronger case for protecting shark since Sharkwater. The message is heavy-handed, but his visual images are stunning to soften the blow.

Although the pace lags at times and the narrative is a bit cliched, Saint Judy reminds us what America represents to the world. This timely and inspiring film instills faith in justice and human decency.

Every once in a while, the story of an individual slips through the cracks. Memoir of War is one of those stories and, as such, provides an unseen perspective to a plotline that we all know well.

Behrman sidesteps overt sentimentality, captures some heartrending moments and most importantly, doesn’t resolve everything with a neat “happily ever after” conclusion. The lasting impression Giant Little Ones casts may not be “giant” – but it’s certainly not “little” either.

An acute reflection of the current refugee crisis, minimalist and poetic in its approach, Transit, unlike its protagonists, seamlessly reaches its destination: a conclusion so heartbreaking, it will resonate for weeks after.

Something is an incredibly solid debut feature.

The documentary is a life-affirming piece of filmmaking that will paint a smile on your face and leave a song in your heart.

Featuring a mix of fiction and real life, Touch Me Not explores intimacy in an experimental feature film that manages to make sex seem unlikely and tiresome.

Woman At War is one of the best films I’ve seen about climate change that isn’t either a documentary or an extremely pedantic horror story.

Overall, I would recommend seeing this film if you are a fan of Mapplethorpe’s work, the New York art world, or of Matt Smith. He gives a bravura performance which outshines everything and everyone on screen.

It may not be perfectly executed, or original in its approach, or particularly memorable, but McGuire’s poignant film possesses an arguably more important trait: it’s totally honest, wearing its heart on its thick parka sleeve.

In its favor, the film is competently edited, and the low production values aren’t too apparent – thankfully, it’s at least decently assembled.

The Last Resort could have been a slight, sunny picture postcard from Biscayne Bay. A piece of fluff that would delight our cravings for the past — whether or not we were actually around to observe that not too distant past firsthand. But instead it’s a heartfelt and jubilant love letter to a paradise found, lost, and reclaimed — Miami’s South Beach.

1st Summoning‘s final act plays like one of the better-quality segments from the V/H/S franchise, and it suggests that this filmmaking team might have been better represented by an all-killer-no-filler short subject rather than a feature.

The Man Who Killed Hitler and then the Bigfoot isn’t the loony chuckle-fest that many might want and it’s not as affecting a character piece as Krzykowski might want, but it’s a crackpot showcase for a performer who deserves one or two, crackpot or otherwise.

Of course, the argument can be made that a film is a work of art, which grants extended artistic license. Fine, then why not use the events as a basis for a fictional story rather than deliver unabashed inaccuracy in the name of art?

Though the title would have you believe you were watching a “futuristic” film involving robots, the truth is, it just feels like a cheesy soap opera or novella.

Living in the Future’s Past is quite conventional and presumably something we’ve already seen before, but it never hurts, especially as we are reaching the point of no return.

Wrestle will completely suck you in from beginning to end.

It is the kind of movie where everybody gets together at the end to sing or dance in celebration of love, life, and family; so going in knowing nothing about The Storyteller, one will either be moved by its devotion to providing warmth and tears of joy, or not.

The film is never less than entertaining, and it’s easy enough to get caught up in its roller-coaster narrative and impressive recreation of mid-century Texas, but its makers occasionally struggle to get a handle on their protagonist and the attendant themes of ambition, failure, and stubborn perseverance that he represents.

The film’s narrative arc demands attentiveness. It’s dense and talky, with a lot to absorb and almost no time to reflect. The deep meaning of the words blended with the pure, hyper-realistic filmmaking style of Ceylan, makes it a very rich experience.

St. Agatha is a fine thriller that is much better than you will expect it to be. Bousman guides a coherent and nimble narrative to shocking and satisfying builds.

This short but powerful film is extremely important in the MAGA era when all our civil rights victories as a nation are constantly in danger of being overturned. I also think it’s important for people to know that the true message of Christianity is love and acceptance, despite however many of the religion’s followers have twisted it to the contrary.

Among Wolves is a subliminally powerful – if perhaps a tad too minimalist – statement on achieving redemption in a seemingly doomed place.

With terrific pacing, knockout script, and actors who know what to do with it, Untogether quickly earned its place in the subgenre of romance worth watching.

In the final analysis, The Lego Movie 2: The Second Part is not as good as the first, but comes pretty damn close and is another example of a well-executed sequel. As cliched as it sounds, yes, this is a film for the kiddies, yet suitable for adults.

Game Changers does a formidable job of patiently tracing the history of game shows from their very inception to the current deluge of such shows on TV.

Heavy Trip is an absurdist, powerhouse folly, which feels spunky enough to honor the musical genre and comes filled with deadpan hilarity to please comedy addicts.

Much like anyone in the throes of recovery, this journey is not a nice, tight, three-act Hollywood story with a perfect dramatic ending. Finding “normal” is a distant speck on the horizon for Hogancamp and this film depicts only a small segment.

Then Came You has a little of every romantic film that you’ve seen in the past two decades, and even though it’s not quite original, it still is a good film that will give you a lump in your throat. The talent in front and behind the camera are reasons alone to give this film a watch.

It’s a delightful comedy about some of the darkest stuff we can go through as humans, which can only be pulled off by certain writers and directors. Gus Van Sant is definitely one of them.

This film is arguably one of the most unsatisfying films I’ve had the disservice to watch.

Although Great Great Great might not be as gripping and memorable as its name indicates, it manages to uniquely capture the essence of the lives of middle-class young adults trying to come to terms with the fact that their journeys will be very different from their parents’ and that nothing is as easy it seems in this trying time.

The best thing I can say about A Dog’s Way Home is that it’s an exceptional film, that you’d find on the Hallmark Channel. Science has yet to count just how many strings the human heart has, but A Dog’s Way Home tries to pull every damn one of them.

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

As ambitiously artful as it is infectiously engrossing, Birds of Passage brings an invigorating worldview to a genre so often riddled with clichés, weaving an astute tale of fortune and destruction as it explores long-held indigenous traditions.

Welcome to Acapulco – at least partially – warrants your investment. It may not reach levels of great trash, but it sure aspires to such, and is always watchable, if only for the sight of thespians hamming it up for a buck. Here’s (vainly) hoping that Welcome to Acapulco will put those fallen legends back on the map.

If you approach Alita: Battle Angel like a standard action film, where you’re there just for the stunts, you will have a good time. The world created by James Cameron and Robert Rodriguez is visually stunning. Rosa Salazar is fantastic as Alita, and she shines in her mocap performance.

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.

The Golem is creepy, as the cinematography is awash with atmosphere and the use of such a creature is interesting. The dramatic side of things mostly holds up as well, and when combined with the excellent acting, the movie turns out to be very effective and memorable.

Darkly comic, disturbing, and fun, Piercing is a vulgar little thriller that is one you watch without the one you love.

A sweet, wistful piece, it is difficult to ignore the agonizingly slow way it gets to its main point – forgiven only because of a strong ensemble that adds considerable weight to the picture.

Some people, including a couple of people I watched the film with, may see The House That Jack Built as pretentious nonsense. Others will see it as the glorification of violence. I see it for what it was intended to be, a work of complicated, violent, hilarious art.

In the end, what’s left is yet another bad Amityville movie that fails to entertain or scare. Still, the house does look scary. Maybe if they try one more time…

You’re definitely going to laugh and laugh out loud. Young has several hilarious moments with his subjects, and the absurdity of these musicals and songs create an endless stream of silly giggles.

All of the performances are at least solid, and for an indie, the production value is impressive. It won’t reduce you to a weeping mess, but at 78 minutes it’s a trim, satisfying drama that does justice to its inspirations.

Farhadi fails to provide startles and thrills, relying solely on the dramatic side of things to impress. But even that factor is disastrous as he tiresomely attempts to suggest connections between the past and the present.

The Nightingale is another triumph for Kent. Not one to aim for more crowd-pleasing material and palatable choices, she directs this visceral and moving revenge picture with a very sure hand.

Joe Cornish has pulled off a fantastic feat- a children’s fantasy adventure that balances the drama, action, and humor perfectly and will keep an audience of any age entertained through its entire runtime.

Clemency is a staggering achievement in its portrayal of a story that we often ignore out of simple spite or ignorance that humanizes all angles with compassion.

Where’s My Roy Cohn? is a great doc that’s a tad aesthetically stale, but it will have a mass appeal even to those unfamiliar with Cohn and uninterested in politics and law.

This film is definitely the Mads Mikkelsen show, and it is one of his most powerful, emotive performances to date.

This is a documentary that is very difficult to stomach.

There is humor, drama, and sexual indiscretion, with entertaining and sometimes insightful moments, but the themes are so narratively ill-defined that it never gels.

As twists start to pile on, I Am Mother shifts from eerie to tedious, but there’s too much on display to outright dismiss.

The Hole In the Ground surprised me, took me on a fun ride, and returned me, almost unshaken. This was a brilliantly satisfying monster movie.

The characters are compelling, but I would like to have known more about how Peter came to this place in his life.

Wounds is a visceral, disturbing descent into the destruction of a man that hits all of the conventional horror notes with sadistic joy taking viewers on a ride straight to hell.

It’s easy to disappear into the setting of The Sunlit Night but if only the narrative were as involving.

It’s a very exciting, sad, yet extremely funny film.

Luce is a quiet stunner, ready to unnerve you in unexpected ways.

The rapport between Thompson and Kaling, along with the entire supporting cast, make Late Night a lively and entertaining workplace comedy with its finger on the pulse of today’s entertainment industry.

Not since Shaun of the Dead has there been such a consistently uproarious zombie movie.

The beautiful surprise of Honey Boy is it never feels like LaBeouf revels in the chance to put the spotlight on himself. He wrote the film while in rehab and every moment of the movie feels like an artist in search of a desperately craved and needed catharsis.

As a bitter commentary on family, truth, trust, and above all, the religion, The Lodge is a serviceable mood piece that ends up leaving you feeling cold, and not in a good way.

Hala is a breath of fresh air that reminds us that as long as we live authentically, with compassion and understanding, the world around us is far easier to deal with.

The Farewell is wonderfully specific towards the culture depicted, but there’s a universality to its issues regarding family. Just about everyone will be able to take something away from The Farewell.

At times, Extremely Wicked, Shockingly Evil and Vile is all about the performances because the movie itself struggles a bit with settling on a tone.

Divine Love is beautifully shot and wonderfully acted, but for those who are on the religious persuasion it may be too blasphemous, and for those who do not subscribe to a defined religion, it may be too dogmatic and weird.

Scheinert adroitly conveys both the pathos and the humor of the situation. As dumb as the main characters are, the film itself is very clever.

In the end, you’re entertained, but not so invested in the characters that you’re hooked to every word. It’s enjoyable, but not memorable, and certainly, nothing that lingers in the mind or makes you want to gush to your coworkers the next day.

This is a feel-good movie that tackles a bunch of tough topics, from politics, race, family traditions, social frustrations, and romance. It never feels preachy or overly cheesy.

Freundlich’s approach to the film is respectful to the original but begs the question of why translate this particular film for a more mainstream audience. He does so deftly but After the Wedding trods in some familiar melodramatic territories, which may not have the same impact as the original.

It’s a touching and funny tale about a family chasing their unconventional dreams in the world of sports entertainment. It has such a magnificent cast, and the story is interesting enough to entertain both wrestling fans and non-wrestling fans alike.

Astral is a mediocre supernatural thriller at best.