All the well-directed decision-making made by Affleck to present a known story reveals how screenwriter Alex Convery crafted a script where actors had the freedom to embrace their characters to the core. And adding the Affleck-Damon recipe makes it even better.

Daley and Goldstein have written and directed a fabulous paean to the granddaddy of Tabletop Role-Playing games that is just so much fun.

It makes the mistake of developing the characters less in order to increase the chance of symbolism more.

It’s time to turn off the news and turn our attention to stories and films that offer real solutions for peace. Start here and learn that people can change for the better.

Gilford’s National Anthem offers a sense of beauty to behold and accept. It is visually stunning and a complete story everyone can understand, with great drag performances and other spectacles that make this film memorable.

Part of the reason Condor’s Nest works as well as it does is that none of it feels forced or showy. Blattenberger truly set out to make a kick-ass WWII flick, albeit with his tongue planted firmly in cheek.

The documentary is the great American story of the outsiders coming in and rising up. You need to see it.

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.

It’s impossible to escape the allusions to faith throughout the film. It may not be everyone’s bag, but Benson uses it in a relatively unobtrusive way that doesn’t seem like an exercise in proselytizing.

While the authenticity of a television show from that era may dampen the intensity of the scares, the film is still just plain fun to watch. The effects are wonderful, with the vast majority of them being practical. The Cairnes brothers lean on fun over terror, which may irk some. But, what fun is had!

Are You Lonesome Tonight? is a masterclass of cinematic storytelling. Every element works together to enhance and build up each other. This might be Wen’s first feature film, but it heralds a top-notch director with a lot of swagger and much to say.

While it seems on the surface to be a paint-by-numbers thriller, the numbers add up to something higher than usual.

John Wick: Chapter 4 is the return to the greatness we associate with the franchise, particularly after the misstep that is Chapter 3. It is easily my favorite movie of 2023 so far and begs for repeat viewings.

Exploring universal themes of seeking familial connection and kindness, Adopting Audrey verges dangerously close to becoming as aimless as its heroine. But because of Malone’s sublime performance, it manages to stay on course. Maybe in the future Cahill could benefit from adopting a different approach.

The cast’s commitment throughout The Whale allows Aronofsky to create a tearful experience.

Where Licorice Pizza was fun, bombastic spectacle of performances, I Like Movies is a more subtle, more human, more cohesive film with a devastating and distinctive point of view.

Radio Silence needed to make Scream their own, and they did it in a blaze of blood and guts glory.

The movie unfolds with an anxious pace and a consistent building of actions and circumstances.

Look at Therapy Dogs as a cautionary tale, one bound to horrify unaware parents. Eng doesn’t seem to give a f**k whether you respond to it or not. Good for him.

A House Made of Splinters tells a story that needs to be told as loud as possible. While uncomfortable at times, the filmmaker is respectful and empathetic.

Andrew Commis and Rick Rifici’s jaw-dropping camerawork is worth the ticket price by itself: Abby’s fingers brushing against the grouper, whales scaling the surface of a deep-blue ocean, the skeleton of a blue whale resting among rocks. These visuals make the abundant preaching throughout Blueback palatable but make you long for a tighter focus and a subtler approach.

The story is about being held accountable for your actions and making things right. But it’s also about the love and honesty of family and, ultimately, forgiveness.

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.

The Year Between culminates with a beautifully emotional scene, but the journey to get there is a challenge, much like for those who are suffering from a number of mental health issues. But the performances and the overall message of empathy made it worth it all for me.

Hunter Her, Kill Her is an intense thrill ride that will leave everyone watching on the edge of their seat. Terrazzino’s performance is stunning, as the actor easily handles every emotional beat and punch.

The Persian Version is a comedic and beautiful portrait of a Muslim immigrant family caught between the struggles of two cultures and two generations, featuring two outstanding performances that should not be missed.

The Teachers’ Lounge flows very well, and the story is quite effective, leaving viewers intrigued, engaged, and as eager as its protagonist to find the truth and answers to what is happening at the school.

Bunker is a gripping little thriller with solid characters and impressive visual flair.

Cinema Sabaya is a beautiful model of peaceful coexistence. This is a heartwarming film that should be watched by everyone.

Antebi resists the temptation to supply a simple, idealistic solution to achieving sobriety, an ongoing process that takes time and effort. Instead, he untangles the struggles of addiction and the road to recovery with a dose of levity and absurdity. He thus renders it easier for the viewer to latch onto the high-energy, albeit overly confident cinematic machine that is God’s Time.

Banks ends up with a glossy Hollywood flick disguised as a straight-to-VOD grindhouse title. It feels dishonest, forced, and overstuffed.

Prepare for a threadbare, hole-ridden plot with cardboard characters, whose ludicrous dialogue is matched by the stupidest twists in recent memory. After a feature like this, the only thing that’s on the line is Gibson’s career.

Jesus Revolution is one of my favorite faith-based Christian movies, of which I’ve seen more than my fair share. I associate three things with faith-based films: bad acting, an outrageous, overly positive message, and a shoe-horned sermon. Thankfully, this film avoids all three elements.

Warren’s film may leave you bruised, but don’t let that stop you from seeking it out.

Ben Epstein’s story is compelling, and his character development is brilliant. But taking a step back, the film represents the lives of real people who have made massive mistakes and trying to move on from those mistakes as best they can.

80 for Brady is one of the most mediocre films ever made. However, there’s just enough heart and silliness to recommend it for nostalgic purposes. Plus, the four leads bring it. Also, like Superbowl LI, the film has an exciting fourth quarter.

Normally film is considered a director’s medium, but this one belongs to cinematographer Paolo Carnera. The footage of Felice rediscovering Naples is nothing short of stunning. Martone wisely understands that he has three resources in Nostalgia that other filmmakers do not: Carnera’s eye, Favino’s acting ability to quietly emote with no wasted motion, and a city that is heartbreakingly beautiful to behold.

Instead of a taut coming-of-age drama, we seem to have gotten a surfing movie that happens to have a skeleton of a story.

Huesera: The Bone Woman will take your conception of the limits of the horror genre and break every bone in its body.

Ant-Man and the Wasp: Quantumania is fast-food when audiences demanded a five-course meal.

The shared experiences of the Bonds around the world and the extraordinary consequences of having that name are interesting. For budding documentarians, this is an example of a film birthed from a simple “I wonder…” statement. Through research and diligence, filmmaker Matthew Bauer managed to string together an intriguing and engaging film.

The First Step works because it’s as honest about the state of government as it is passionate about doing so.

It’s a mature story, and with maturity comes a subtlety that goes beyond exposition. But filmmakers must balance tones effectively, and Khan is unable to shake his film’s monotone nature.

A tight, taut mystery with incredible acting, this terrific film explores how our children use social networks. It has definitely opened my eyes to the possibilities of online sleuthing, and I highly recommend this film to anyone.

It flows from one interview to the next seamlessly, whether it’s a celebrity, writer, or friend. The segments never overpower each other. Instead, Martin adds layers and layers of understanding to Karen Carpenter, a woman who left way too soon.

Throughout Sick, Williamson decisively proves that breaking all the rules sometimes breaks the movie.

Daughter is not scary, but I don’t think it was intended to be. I wanted to see what was going to happen next while enjoying the slow-paced ride all the way to the finish line.

Knock at the Cabin is a thriller with great performances and will keep you on the edge of your seat from start to finish.

Author Judy Blume had a profound effect on many a young girl and boy’s life and adults whether you read one of her books or all of them. Judy Blume Forever is a testament to why.

Swallowed features great acting, especially from Malone, and a truly intense final act that must be seen to be believed.

All three artists aim to reach an audience equally as dedicated to engendering change. Through the interlacing of perspectives, Mixtape Trilogy: Stories of the Power of Music unearths the everlasting influence of music and why listener and artist should forever cherish that influence alike.

If you’re in the mood for a dark revenge thriller with terrific acting, then Line of Fire has got you covered.

It works as a powerful mediation on the optimism lost for a peacefully cosmopolitan Lebanon.

Maybe Banderas wanted to capitalize on the popularity of the Taken or John Wick franchises, which is entirely understandable. For a man used to covering a wide range of genres, the role of the older action star is one with a certain degree of cultural cache. The Enforcer, though, just isn’t the right vehicle.

The value of Petit Mal is in the performances and formal flourishes that disrupt the actors’ rhythm work against one’s overall enjoyment. Even so, there’s always a place for filmmakers willing to tell distinctive love stories, and one involving a lesbian throuple in Colombia certainly fits the bill.

In the end, In His Own Words: XXXtentacion does a fabulous job of allowing the subject to speak their piece. X had been through a lot and hoped his challenges could help others. The rapid way his fanbase grew showed he was right. Steele and Stone do Onfroy’s legacy proud with a thoughtful examination of who he truly was and what drove him.

There is this marvelous hard-boiled narrative style Vigas employs, with long periods without dialogue and little exposition. The way the intrigue is built as the picture progresses almost takes us into thriller territory. This is the cinematic storm the filmmaker creates here when a child’s yearning meets the brutality of an outlaw land.

Steered by Nicolas Baby’s plangent score and the calm, defiant presence of Harris, Being Thunder is a wonderfully candid and serene documentary about addressing gender and history.

This feels like a high-budget television drama. Let’s face it, Jackman, Dern, and Kirby can elevate pedestrian dialogue, but they deserve higher quality work for their talent.

Even though this is just a blood-stained shadow of Argento’s previous masterworks, the fact that he has produced something worthwhile again is a cause for celebration.

This is essential viewing for anyone with a modicum of interest in WWII history. For the odd individuals that don’t have any interest, this is still well worth a watch because of the powerful character study at play.

Eternal Spring is a beautiful film about freedom. It’s also a film that is currently flying under the radar, rife with controversy but is well worth seeking out for a serious evening of cinema.

The emotions of 200 Meters are honest and felt in almost every scene.

The filmmaker plays with our assumptions around justice and race. While A Lot of Nothing uses elements ripped from the headlines, in this context, what you expect to come from it will say more about you than it does the script. The revelation of the final act changes everything that has gone before. Hang onto the edge of your seat for a wickedly entertaining ride.

The cast and crew can take pride in the fact that they’ve crafted one of the more singular experiences of the year.

Cortés’s devotion to creating a film in honor and respect of Little Richard is also one of achievement and understanding for those who have been marginalized for being who they are.

Offering beauty and strength in an oppressed and marginalized world, Eileen breaks the boundaries of perceived power.

The Mission is a straightforward documentary about the life of a Mormon missionary. Nothing controversial happens. It’s a day-in-the-life story. Though Anderson never attempts to proselytize audiences into the LDS religion, there are more than enough opportunities to hear their message.

You People chooses to bounce along from one awkward situation to the next, with little time to let the characters feel like actual people.

Seek out In My Mother’s Skin, only if you wish to experience a grim, old-timey fairy tale. This one is guaranteed to give you nightmares.

Most of the cast is excellent, and the writing is very clever. Couple those elements with the fun, cartoony animation, and one gets a pleasing little family film that, thankfully, does not fit into a specific mold.

I Get Knocked Down is lively and fun. It examines one of the odder songs to become a phenomenon with humor and surprising profundity. Plus, afterwards, you’ll have one helluva song stuck in your head.

On the surface, the plot is simple, but the nuances, keen observations, silences between words, the humanity of it all, and the ease with which the filmmaker effortlessly navigates turbulent currents subtly transform the feature into a complex drama. There are no heroes or villains, no good or bad people, just folks trying to figure themselves and each other out.

What remains undeniable is Englert’s directorial chops. Bad Behaviour is exactly the story she wanted to tell. She couldn’t care less if you hate it or love it, refusing to pander to anyone’s expectations. Good for her. That sort of bad behavior is what makes her stand out as a filmmaker.

If there’s an overriding idea that Broker leaves you with after the tears roll down your cheeks, it is the sense that family transcends familial bloodlines. Family does not have to be something you are born into. Family can be something you can patch together and create.

The Pod Generation is a science-fiction film with something to say and forces us to confront our future by asking questions. Just because we can screw around with biology, should we? Sophie Barthes’ futuristic tale is worth watching just for the conversation that’s bound to happen afterward.

It is an intimate, somber, uncompromising cinematic portrait of a desperate soul in the vein of Darren Aronofsky’s The Wrestler, if it were cross-bred with Martin Scorsese’s Taxi Driver. The film will haunt you long after the lights fade.

This “horror” (used as loosely as possible) debut will only frighten people who get startled by their own shadows every day, as it’s just a slog into nothingness.

In his inevitable next feature, Cronenberg could use more, dare I say, logic and warmth, to counterbalance all the madness and viscera. Otherwise, gorehounds and cineastes: dive right into this viscous pool.

Bolstered by Mark Bradshaw and Marcus Whale’s electronic drone soundtrack and Bonnie Elliott’s atmospheric cinematography, Run Rabbit Run could’ve used some more forward momentum. It lacks outright scares and novelty but makes up for it in some psychological depth. Reid’s film may not reach the profundity it strives for, but how many horror titles even strive for anything these days?

The narrative may prove a bit indeterminate and slow-moving to jaded audiences. Yet it remains an incisive and unusual little tale, which we could certainly use more of these days. That is something I personally think about all the time.

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.

Throughout Hadas Ben Aroya’s All Eyes Off Me, we’re privy to a level of intimacy not often seen.

House Party puts out quite the spread and has put effort into its lights and music. But nothing that happens will give us any inspiration to accept an invite to future festivities.

Detective Knight: Independence is a must-see for fans of Bruce Willis. Those who are into the action genre as well should check it out because of the added character depth and cast.

Chess Story is a subtle, soft-spoken killer of a film. It’s absolutely worth your time if you like World War II-era dramas. Seek it out.

In the end, Plane is a high-adventure thrill ride. Unplug your brain. Suspend disbelief and strap in. No lectures, moralizing, or virtue signaling. Just an everyman trying to get home to his family. It may also serve as motivation to take a few wilderness survival courses.

It’s a heartwarming tale about finding life after loss and finding the good in others. Unfortunately, like a Hallmark film, it’s wrapped up in a lot of schmaltz.

Yes, Make Me Famous highlights the life and work of a brilliant artist, and just for that, the documentary is worth watching. The film also vividly describes what life as an artist was like on the Lower East Side of New York.

For Western audiences, Back to the Wharf is an engaging glimpse of daily life at the intersection of Chinese family culture and government corruption.

Brad Bischoff’s subdued drama Grasshoppers leaves a lasting impression, certain images glowing like embers somewhere in the depths of the viewer’s mind long after the credits roll.

Alchemy of the Spirit is beautifully presented even though it appears as if there’s little happening. The color, light, and lack of detail are multiple layers of thought-provoking cinema. It is an authentic experience where the art of film and visual storytelling are present and effective. To add, Berkeley’s acting is without flaw providing another layer to unpack.

Davis’ delusions of grandeur are definitely not bulletproof like some of his vests, but that doesn’t necessarily make this an essential watch.

Fascinating as it is to see the sheer drive and determination of a man who builds his persona with unwavering dedication, Loudmouth can appear somewhat hagiographical in its approach. Sharpton is too fearless for such a style and has never shied away from confronting those who are angered by his words, for, as Dr. King once said, “In order to love your enemies, you must begin by analyzing self.”

It’s the rare work that confronts the uncomfortable truths of the world – namely that life is far from fair, and no individual can achieve success without the support of others who may not be dealt a great hand in life.

Spoilers prevent me from saying anything about it, but the finale is a satisfying good vs. evil ending while reinforcing the true nature and values that Blanc holds as an investigator. Even then, when it’s all said and done, this is a light comedy. The story, mystery, and conclusion are fun, but it’s not Agatha Christie, nor should it be.

Loosely based on Linklater’s experiences growing up in the 1960s, Apollo 10 ½: A Space Age Childhood is not so much a space adventure as a pleasant reminder of the essence of youth and the comfort of memory.

The brilliance of Holy Spider is how it takes all the gripping, lurid suspense of the serial killer thriller, turns it on its head, and takes it to the next level as symbolic of a corrupted, misogynistic society.