Visually stunning and contextually provocative, God Grew Tired of Us is quite simply one of the most beautiful documentaries I've ever seen. Intelligent, heartbreaking, uplifting, humorous and reverent, the film is an adventure in what it means to be human.

While the film missteps in a few small places, it's charm, wit, and heart make Kissing Jessica Stein one of the few "must see" films of the year; quite an accomplishment for novice filmmakers.

So ham-handed and relentlessly overbaked that it is easy to see why audiences initially stayed away from it. Just when and how did anyone come to see this as a classic?

More than "Rocky" on a horse track. It's a moving story about people and how their lives intersect at just the right time. It's also a simple story about second chances.

For non-actors, everyone in this film really pulls their character off extremely well.

At its core, Lots of Kids, A Monkey, and a Castle is an intimate, humorous, and heartfelt love letter to the filmmaker’s mother and her indomitable spirit and will to rise above the inevitable pitfalls of life.

While Bong Joon Ho delivers his signature visual flair and Robert Pattinson fully commits to the existential dread of his endlessly disposable character, the film struggles to keep its high-concept ideas fresh past the first act.

It's a love story without all the verbal hooey and it hits harder than most.

With splendid assistance from cinematographer Mohammad Reza Jahanpanah, the filmmaker immerses his viewer into a milieu both relentlessly grim and breathtakingly gorgeous, endlessly vast and claustrophobic, evoking a vibrant halo in the midst of hell.

Like Lucy, herself, Am I OK? does not really discover itself until much later, but once it does, it confidently strides to its conclusion.

Gaucho Gaucho is a celebration of a community of Argentine cowboys and cowgirls who live beyond the boundaries of the modern world.

Under the guise of a straightforward love story, Sethi’s film reveals itself to be an incisive look into the long-running Indian tradition of arranged marriages and its implications, set against the backdrop of a rapidly spreading COVID-19. If that sounds heavy, it’s anything but, the writer-director ensuring that things don’t get bogged down in ponderous polemic or pretentiousness.

Great science-fiction storytelling is not going to come from the big studios anymore. We will find it from new filmmakers with big ideas and very little money. But thankfully, big ideas attract big talent (then hopefully big money), and that’s what we have with Edson Oda’s Nine Days.

I wanted to like Superman Returns, but Singer and company are so concerned about doing justice to Superman’s past, they fail to generate much interest in what, if any, future the franchise might have.

Shinkai’s animated feature may sometimes seem like it was dreamt up by a 15-year-old teenager. It may move at a leisurely, awkward pace that threatens to come to a dead halt at points. Yet when it takes flight, it soars.

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.

Director Darren Aronofsky, creates an eerie "Eraserhead"-like world that keeps the film compelling even when it digresses into a silly cat-and-mouse psychodrama.

In addition to the socio-economic impact, Good Hair also explores how hair care affects the African-American community in confidence (both personal and race-related), romantic relationships and every day life.

Sometimes, the greatest tales in rock n’ roll involve bands or singers who haven’t made the Hall of Fame or made the playlists for classic rock stations. If you want both the best sounds or the best stories, you have to search. Thankfully, Bobbi Jo Hart has saved the rest of us a lot of effort with her new documentary Fanny: The Right to Rock. She doesn’t have to exert herself to prove that the early 70s combo deserves a place in the pantheon. The ample performance clips from the era speak for themselves loudly.

If you’ve ever had a friend or family struggle with an addiction, you know that nothing you say or do will change their ways. It seems to always happen at their rock bottom. Nora Fingscheidt’s feature, The Outrun, starts at the bottom.

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.

Screwball is an entertaining way to bring a very serious scandal to light.

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

The result is crisp, brutal and utterly inspirational.

Those expecting that a movie about an occult sacrifice to ever become scary will be disappointed with Extra Ordinary. The filmmakers use the trappings of that kind of film for an all-out comedy. Thanks to its nonstop jokes, strong, likable characters, and marvelous cast the movie is hysterical.

A bit more pragmatic, rambling, less lyrical, and not as laser-focused as Herzog's previous documentaries.

Dark Money does succeed in presenting a strong case for campaign finance reform.

Hellboy just might end up being one of the best movies you see this year.