In every scene, Blank’s work shines as a writer, a director and as an actor. Her relentless charisma and authenticity tinged with wit carry every scene of the film, making it a joy to witness. This is the arrival of a talented voice in indie film.

Director Juho Kuosmanen excels in telling a story that seems entirely believable and realistic, never forced or predictable. The actors are equally talented.

On one hand, it is a good but seemingly typical genre film that has moments of uncanny intelligence. On the other, it is an uncannily intelligent work that eventually settles for simply being a good genre film.

There is no shortage of remarkable moments.

In the Court of King Crimson: King Crimson at 50 is not an exploration of what was or who the band used to be, but rather a voyage into their present and future.

Offers a remarkable tribute to one of the few people who genuinely deserves to be known as a pioneer of filmmaking. In the genre of films about films, In the Mirror of Maya Deren is among the best.

With Tokyo Sonata, Kurosawa shows that he has quite the flair for dry humor and peppers this film with just the perfect amount.

Utilizing never-before-seen archival footage, expertly-rendered animated interludes, and unprecedented access to those involved in the crisis, Kopple strings it all together into a gripping and emotional whole, like a true master craftsman. I will not be surprised if the living legend brings another golden statuette home this year.

Tippett himself said he did not intend Mad God to adhere to any strict narrative structure, so it’s best to merely soak in the sumptuous, detailed visuals and extract your own meaning from the journey. It’s a ferociously engaging, if slightly flawed, viewing experience.

Clooney has littered his film with such a high quantity of mistakes that it is hard to know where exactly to begin finding fault.

Foul-mouthed, unapologetic, visceral, and authentic, Firecrackers also happens to be sharply edited, its narrative complemented by Casey MQ’s gorgeous electronic ambient/drone score.

The reason that Once Upon A Time In Venezuela is so effective is that it explores a microcosm of the events.

Both Wu Ke-xi and Kai Ko were phenomenal in their performances and Midi Z has probably in Mandalay his best work so far.

Nyoni’s handling of tone is astoundingly careful, and because of it, I Am Not a Witch is a truly unique and stirring experience.

At the finale of this visual delight, every hired hand and technician also deserve acclaim.

Exhuma is a masterpiece of art-horror and South Korean filmmaking, ensured to enthrall viewers into repeated viewings and deep dives into each chapter.

Perrier is an undeniable talent and as a first outing, Jezebel is a powerful statement.

Although sincere and well-crafted, the repetitive lethargy of A Still Small Voice would perform much better in a short art film, not a full-length feature.

Light From Light does not totally stick the landing, as it stays small when it should have finally gone big. But the characters are well thought out and relatable, the cinematography is excellent, and the conversations between Shelia and Richard have resonance. This is all brought to life by an amazing cast, who absolutely deserve awards for their heartrendingly honest and raw performances.

Most importantly, Introducing, Selma Blair is the story of a mother desperately trying to keep it together and be the best parents she can be to her son while dealing with a disease.

It's the journey that offers the most enjoyment. Well, that and the beauty pageant climax, which I won't spoil here, but is one of the funniest scenes from film in recent memory.

Though Liyana often feels more like an exercise in storytelling than a complete narrative, it is heartwarming to see the kids light up as they work together to create art out of their hardship.

The movie feels like a Sunday drive with your own thoughts, where you get some good thinking done, even if you don’t come to any lasting conclusions.

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

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.

Where the first two acts tell an offbeat and strange story, the final act comes out of the blue and ties everything up in a hope-filled and tear-inducing way.

It’s a parody, a biopic, a comedy, a tragedy, an experimental film, and God knows what else. It may sound crazy to say, but The Other Side of The Wind is quite possibly Orson Welles’ most ambitious picture and that might explain why it remained unfinished for so long.

Mothersbaugh himself acknowledges that the band’s curse has always been being ahead of its time, but it is fitting that we have finally arrived at a time when that is obvious. If you have not seen this legendary band play live yet, do so while you still have the chance, if you can. Whether you have or have not, see Devo as soon as possible.