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.

Not only the best I've ever seen, but also the Indian film that'd be most accessible to a Western audience.

The story of lust, love and betrayal intriguingly bemoans racism and prejudice of bygone times while peppering the “history” with more modern references.

It’s a strong, confident debut, with something original to say. We all have a hidden darkness, a lurking depravity, which we suppress, push away, ignore. Violence and sexuality lie side-by-side in the recesses of our minds. Seeds masterfully explores what happens when one cannot stop the dam from opening.

Since the film has a loose storyline, it allows the comedy to shine. We are even treated to an awkward dance scene at the film’s end. Gordon and Abel emulate the humor of great slapstick comedians in their own unique way. If quirky comedy is up your alley, check it out.

Featuring fascinating archival footage, timeless music, and a plethora of compelling subjects, Viva Verdi may have a rather narrow target audience. But boy, will it please them.

I’m not sure where Schrader’s career will take him after Master Gardener, but here’s hoping the next decade is as impressive as the current one.

After half a century, does the story hold up? Eh, pretty much. In the end, the story doesn't really matter that much as this is really a vehicle for the amazing visuals.

Underdog may seem like a story with niche appeal, but the result will surely resonate with all the underdogs out there.

Beauty aside, Toy Story 4 captures the heart of the entire saga in its own way.

What You Wish For is everything you could wish for in a well-lit plunge into the abyss. The script’s condemnation of the class system is much more potent than the overrated, sneering misfire The Menu.

Not sure if anyone wants to hear this, but A Good Person is a simple yet complex drama with the intention of bringing some good to this world.

It is, first and foremost, a blistering character study, raw in its power and realism, its beats as unpredictable as its protagonist. I’d say buckle up, but dirt bikes don’t have seat belts.

Panek doesn’t sugarcoat anything in his beautifully-shot, grim tale, but ultimately, it’s his belief in human kindness that prevails. There may not be any lycanthropes in Werewolf, but they’d most likely seem like puppies next to the true evil he depicts.

As always, Don Cheadle is fantastic, but the film belongs to Joseph Gordon-Levitt.

So immodestly unripe; yet so horrendously tempting you’ll find it hard to resist.

Walid is a satisfying tale of good and evil that rolls out some moral instruction on principles, but the icing on the cake is the long-form hand-to-hand Silat fighting that rounds out the film.

If you’re tired of zombie films or rabid people films, Signal is like a cool drink of water on a hot day. It’s got all the goodness from the best of those genres while creating its own niche at the same time.

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.

Juliet & Romeo is worth seeing for audiences curious about new interpretations of Shakespeare’s works. As a musical, it is fine. I would recommend the film for the teen audience. It is a neat way to get future generations interested in the brilliant talent of England’s literary master.

Veiel not only provides details of letters and images throughout Riefenstahl but also constructs a story of filmmaking through his own film. He conveys the emotion of “how could she” using selective footage and placement, timed interviews, behind-the-scenes actions, and subtle narration, allowing imagery to tell a story for the viewer to decide their side.

Filled with situations that mirror the social and racial preconception of the time, this hypnotic tale of punishment and atrocious colonialism is an engrossing experience.

One of the many things that makes Ritu Sarin and Tenzing Sonam’s drama The Sweet Requiem so special and refreshing is that it doesn’t resort to easy political speechifying. The filmmakers deliver a taut, lyrical story that leaves a shadow, that of sadness in which a tiny spark of hope determinedly lingers.

While the delivery of the thrills falls into action territory due to the power contests, there is a palatable sense of dread kept up that will satisfy the horror crowd.

The joy behind this film is right there in the old-time, exploitation-tinged title.

The visual effects are haunting, the costume design by Juliana Hoffpauir is delightfully fanciful, particularly for Shaw’s scenes as a nameless masked demon. The cinematography from veteran cinematographer Shane F. Kelly is a sight to behold. Basically, The Blazing World is gorgeous. It’s also incredibly well written by Peirce Brown and Young.

Freaks subtly subverts the superhero formula under the guise of a hallucinatory, cautionary tale of paranoia, delusion and extreme parenthood.

In a world where there is no shortage of cop thrillers, The Rip is sheer popcorn entertainment from start to finish.