There is so much to love about the film. Its greatest achievement is its screenplay, which is very dense. Nothing is wasted — not a single side character, joke, gag, or plot point. Every element serves a purpose to the overall story.

Moore’s outstanding direction (seriously, how is this his first feature-length effort?) is stylish, subtly reeling one in, as the suspense and thrills slowly boil over.

Documentaries exist for many reasons. In the case of Ink & Linda, it’s to take us to a world that we may not be familiar with and show us something new, something interesting. Not only do we meet two unique artists, but we get to see them collaborate and create.

The drama is relevant, touching, and ultimately meaningful, as it aims to educate and enlighten its viewers. As such, if you’re willing to put in the time and effort, insert yourself in the narrative, actively ponder the questions being asked, and admire the nuances of what Jonas Bak creates, you are likely to find something to enjoy.

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.

The film is not just important but also entertaining to the core. Her first feature shows Innuksuk is already a master filmmaker who has made a kick-a*s genre picture with dead-on horror instincts.

The Shepherdess and the Seven Songs contains many such moments of scintillating, mysterious splendor yet doesn’t entirely fulfill its lofty ambitions.

Soft and Quiet is the most unsettling real-life horror movie since Henry: Portrait of a Serial Killer. The seemingly uninterrupted single take with a handheld camera fits the production perfectly.

Storywise, Campbell-Hughes ably plays audiences like a harp. The plot often lulls those watching into a false sense of complacency before upending the expected resolution. In this way, the filmmaker keeps the narrative fresh and unpredictable through the bitter end.

The Cow is a powerhouse creeper where one of the great actresses of her generation shows us how it’s done.

Thanks to strong direction, fantastic editing, and good acting, Deadstream is frightening, funny, and enjoyable.

While it is not for everyone, those who can stomach the admittedly cringey, well everything about the plot, will find much to love.

Streamline never establishes its footing, and I believe viewers will fail to see the allure of what Johnston attempts to create.

32 Sounds serves as a glorious pastiche of interviews with sound makers, found footage concerning sound, and interactive experiments for audience members to participate in.

Thanks to strong characters, a great cast, and one bonkers-in-the-best-way finale, the film is sure to please undiscerning fans that just want to have a bit of cool-looking fun for an evening.

Despite the many things it does right, atmosphere and casting, mostly, it doesn’t give you any reason to remember it.

Gripping and mercifully short, it doesn’t quite achieve the status of cinematic gold. Perhaps it’s for the best, or Hayes may have fallen prey to his ambitions.

Those first two acts feel fresh and different. I loved Pattinson’s take. He’s not a pretty boy, he’s a conflicted human being. He’s a hero who’s not so super.

The Changed is telling a story that has been told before. But, the writers have managed to create something compelling and different, thanks to the themes and excellent characterizations. Combine that with the stellar cast and fantastic ending, and you have a title to seek out as soon as possible.

My only real issue is the two leads. They’re crazy and hold nothing back. They are revolting and lovable, but there’s not much contrast between the two or real depth to their characters other than being lazy reprobates.

When morals and ethics become muddled, when right becomes indistinguishable from wrong, when there is nowhere to run, and the world closes in on you, what options do you have left? Though Abu-Assad’s equally muddled Huda’s Salon poses more questions than answers, they are compelling enough to warrant a recommendation.

Gerbase studies how loneliness brings out the worst, and sometimes the best, in us. She examines how some of us are more adaptable than others; how we are the products of our environment, creatures of habit. The film can also be viewed as a parable about autocracy, ruthlessly dissecting the abide-or-die mentality. Whatever you take from it, the drama is bound to hover over you for days.

The Fam sensitively deals with a tough subject and serves as a striking introduction to a roster of formidable talent. It certainly feels like the cast and crew have become a true family during the shoot.

By taking its time setting the stakes for all involved, when the action strikes, its impact is witnessed more through the cast rather than a cadre of CGI explosions.

The individual sequences, along with the confidence with which the two lead actors navigate the sometimes-turbulent currents, elevate the film into the realm of art. After all, sometimes it’s okay for the whole to be less than the sum of its parts.

Despite its narrative shortcomings, Soumaya presents a modulated perspective on the aftermath of reactionary politics and procedures.

Ronnie’s is bursting with vivacity and energy, and to weigh it down with staid interview footage would have been a fatal error stylistically.

It feels like The Other Me teases us Lynchian oddity but never goes all the way.