Ultimately, Smith finally achieves that perfect balance between humor and heart that he's been dancing towards with all his films.

In terms of "narrative," the film keeps excellent pace, maintains your attention, and educates you on psychological ramifications of memory.

It’s unfortunate that Knocking is so muddled as Milocco is thoroughly engaging. Plus, Kempff demonstrates a visual strength and confidence that will serve her well when she gets ahold of a script that is a bit more grounded than the one here.

It’s scary, intense, and moody. Derrickson’s first film since Doctor Strange (the first one, the good one) is one of the best horror films in a very long time.

A hard luck, true life fairy tale story told with poignant humility, embellished with solid acting and determined direction.

A powerful no-frills drama. It's a film that never flinches from its colorful, if sometimes cruel namesake neighborhood and the people who populate it.

The juiciness of the storyline overflows into a series of rushing strawberry rapids that will carry you away.

Homegrown is not a film that takes a stance one way or the other on the extreme political divide Donald Trump has created in the nation. It instead gives you a glimpse into the mind of men who fought for and ultimately went to prison for him.

As a documentary, Rodents of Usual Size makes good use of animation illustrating how Louisiana got itself into this environmental disaster. The filmmakers interview a wide variety of citizens who come at the problem from their own unique perspective. They also capture some of the most once beautiful and now devastating images of Louisiana itself.

Medem's astonishing, magical-realist love story Sex and Lucía is easily the best Spanish film since "All About My Mother." But such a statement actually undersells the beauty of what Medem has created, which in many ways rather defies description.

As a whole, the film is perhaps a bit too gentle and meandering, but it's jammed full of superb moments.

We Are Living Things unravels gradually, methodically. It could’ve used a bit more tension and slightly higher stakes, for the silences in-between its words aren’t as weighty as the filmmakers seem to have intended. Yet it’s refreshing to see a love story rooted in reality, despite the sci-fi undertones.

Dark and quiet is the tone from start to finish.

The Rose Maker is at its best during its quiet moments when characters are allowed to simply exist and grow.

Handsomely produced but emotionally inert offering.

Aviva is a palindrome, reflecting the film’s ouroboros-like narrative. It’s also a Hebrew name, which translates as “spring-like” or “fresh”–both adjectives applicable to the sensual and passionate Aviva. Love it or hate it, it’s… well, it’s art. I loved it, warts and all. Perhaps Yakin has finally discovered his style.

With the keen eye of a seasoned documentarian, the filmmaker captures all the depression, anxiety, boredom, love, loathing, and insecurity of seemingly apathetic teens, her gaze never mocking or judging.

A Boy. A Girl. A Dream may seem simple but every frame is a vibrant work of a passionate filmmaker.

What The Phantom of the Open has going for it is a sweet and unconventionally inspirational story.

Bomb City isn’t a phenomenal effort for a first-time director, it’s a phenomenal film, period.

It strives as hard for authenticity as its protagonist does to remain relevant; the strain shows.

Mirabella-Davis somehow perfectly captures a woman’s perspective on the twisted series of events that leads Hunter to where she lands by the end of the film.

This is a good film; strong, honest, strikingly photographed (by Dean Semler) and appropriately devastating.

This is a timeless tale; the time period is irrelevant as the story is a profoundly personal one about trying to reject the strong internal drive for vengeance.

The Fantastic Four: First Steps is good, when it should have been great.

Overall, June Zero is a worthy film that follows delayed justice coming to a Nazi war criminal, bringing to the surface events of the post-war that aren’t well known.

The cast in this film is incredible.

It’s easy to forgive its melodramatic excesses, especially if you happen to be partial to the genre. And things do pick up as the story unfolds.