At a glance, this slow-burn plot may seem like an action-thriller. But thanks to the fascinating character study embedded in this script, it can hold anyone’s attention with the dialogue alone.

Coupled with a few inspired moments and an earnestness that’s hard to dismiss, the film manages, just barely, to stand out from the rest.

In the end, Marry Me is funny and worth watching.

Good storytelling and fantastic acting by Alessandra and Anamari Mesa make up for any limitations of not having a million-dollar budget. Superior is worthy of your support.

Fabian: Going to the Dogs is poetic, ugly, romantic, tragic, and side-splitting. Some sequences approach the edge of sanity, take a glimpse into the abyss, then the plot reassembles itself – but the threat of derailing remains, and it’s quite exhilarating.

The final product more than overcomes its weaknesses.

This touching film will undoubtedly make you sympathize with its protagonist, wonderfully interpreted with gentle poise and nuance by Diop.

Death on the Nile is more solid and engaging than Murder on the Orient Express, and despite the questionable presence of Hammer, it makes for a great latter-day career tentpole for Branagh. He will hopefully continue the adventures of Poirot for years to come.

The film features several highs but ultimately too many lows to craft a compelling rallying cry.

D.J. Caruso masterfully orchestrates this symphony of suspense, albeit a twenty-piece symphony, but a symphony nonetheless.

However homespun The Fabulous Filipino Brothers might feel or even appear, the film has a certain charm, which many will enjoy.

While The Pact may sound overly sinister to some, August extracts ample nuance out of the cast, ensuring we’re never left without sympathy for Karen. The film’s success hinges upon Neumann’s calculated performance, and she gives the role the requisite amount of ambiguity, keeping the audience guessing as to her true motivations.

Book of Love is never quite funny enough when it needs to be.

The overarching story is outstanding and heartbreaking. An incredible amount of material was uncovered and discovered to construct the film.

Dack’s work as a director is on the screen, in the characters, and widely successful with how the actors convey her vision. Her writing and directing of Palm Trees and Power Lines will make a difference because it’s organic, original, and essential.

Roher is profoundly lucky to have been around when Navalny’s harrowing story needed to be told, and so are we.

The film builds everything up just to smash it and laugh, like a kid playing with LEGO.

Shot from the perspective of Reid’s wheelchair, I found I Didn’t See You There strongly involving. The vignettes that comprise Reid Davenport’s existence really give you a sense of life from the vantage point of one at a lower elevation than most. It’s life, as usual, just a little different, is all.

All That Breathes is a powerful documentary with a message that needs to be felt down deep in the lungs.

Resurrection is a brilliant thriller that rests on the actors’ remarkable performances without the need for typical thriller elements nor the need to resort to torture porn.

With A Taste of Hunger, it is clear that Boe loves food. The film celebrates the culinary arts, as the cinematography lovingly displays exquisite dishes that please the eye as much as the taste buds. He studies how light and sound may affect taste. His approach to gastronomy is as meticulous as the dishes his protagonist prepares.

Perkins brings an entirely new perspective to her life and the events that lead to her untimely death.

With Nothing Compares, Ferguson captures the fire which fuels the still relevant singer. By honing in on a specific time frame but contextualizing it within Sinéad’s life, the film allows us to get to know the subject intimately.

The direction keeps things moving along nicely, while the cinematography makes the whole production look bigger and slicker than it would come across otherwise. Couple that with a decent script and two strong lead performances, and one gets a fine entry into the survival-thriller genre.

Diallo’s dramatic horror film is rich with atmosphere and subtext and deserves recognition, despite its narrative shortcomings.

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

Honk for Jesus, Save Your Soul is a wicked read of religion and a showcase of comic talent.

Benson and Moorhead have crafted yet another lo-fi sci-fi masterpiece.