The movie’s ability to flirt with the familiar and completely turn it on its head is what keeps Psycho Goreman so perversely fresh and fun throughout. It never once betrays its dark heart and continually trots out practical creature effects that tumble out of a GWAR nightmare that keep it engaging, unique, and deliciously deviant all the way to the closing credits.

It may not break new ground when it comes to this genre, one involving betrayal and heavily-accented mob bosses and brotherly love, but when a familiar path is tread with such confidence, you just may want to take another stroll.

The convoluted movie feels like a bunch of grandiose ideas in search of a connecting thread. Perhaps Cahill needs to reconnect with his indie roots to get his creative bliss back.

The dream-like, poetic result is an astonishing visual achievement, an example of what an artist lacking a Hollywood budget can conjure with sheer ingenuity. That said, some may find its impenetrable narrative and purposefully distancing nature irritating. There’s only so long one can stare at an abstract painting.

Bloody Hell is possibly the best combination of horror and comedy I’ve ever seen.

The appeal of M.C. Escher: Journey into Infinity is near-universal. It’s hard to imagine not falling under its mesmerizing spell with the same wonder that one would gaze on an Escher print and feel their mind slowly becoming part of the pattern depicted.

Although, like its main character, Hive is more on the low-key and pensive side, it is nonetheless a gut-punching and measured film. It is about the consequences of warfare and the many wounds those who survive have to tend to in order to create a new normal after years of utter tragedy, such as the genocide and massacres that happened in many villages like Krusha during the Kosovo War.

Anchored by an iconic turn from Cobb, in her first lead role, and consistently daring choices from both star and director, We Are All Going to the World’s Fair is one hell of a trip.

I love Together Together because it’s a sweet and straightforward story surrounding surrogacy. It’s void of Hollywood dramatics and firmly places Ed Helms into that older best friend category on screen.

Writer-director duo Albert Birney and star Kentucker Audley take us on a whimsical journey that bends timelines and genres, resulting in a consistently absurd, hilarious adventure.

I think that Prisoners of the Ghostland belongs in the category that was previously only really reserved for Jodorowsky’s El Topo, and that is the Acid Western. It embodies and revives that category of movie. If you like Westerns, martial arts, Japanese cinema, Nicolas Cage, or anything weird AF, then this is certainly for you.

I really appreciate the bold narrative that Thyberg and co-writer Peter Modestij crafted. It is sex-positive, it takes no prisoners, and it grabs your attention from word one to the final frame.

This funny, heartwarming, and thorough documentation of Sparks’ career [is] a benchmark by which all future music documentaries will be judged.

Sisto certainly has an eye for the story he’s trying to tell, and there are moments throughout John and the Hole, which show he has what it takes to be an interesting filmmaker. [But his] visual flair would have been better served with a stronger story.

The movie is a shared experience between a mother and daughter that could tread into the undeniably cheesy or depressing territory but has a tattered joy to it. It’s a low-budget slice of life, which we don’t see too many of these days.

Hall has crafted a masterpiece of nostalgic filmmaking.

The director, who also stars in the film, and his fellow lead Christopher Abbott, share amazing chemistry that turns any run-of-the-mill conversation into entertainment.

Jockey is a solid piece of work that reflects on who we are and what we leave behind, as well as the prices we pay to get there.

Yes, it was made during the pandemic, and the storyline serves as a metaphor for our current feelings and experiences, but it doesn’t use the pandemic as a tool to directly prey on our anxieties. It’s a bit more thoughtful and reflective than that. This drama gives us the green light to sit back and say, no matter when the end might be, perhaps we did just fine with our time here.

It’s one of the most exciting genre mashups I’ve seen in years.

Through Wang’s intimate and gifted storytelling, and her filmmaking abilities, she offers a lens of understanding to the delicate nature of life and death, especially for the frontline men and women who were tackling this faceless and mysterious illness changing life as we know it.

Through a bracing pastiche of methods, we are taken on a harrowing journey that must have A-list directors, this very minute clamoring for option rights. It is beautiful and gripping; Flee is a must-see.

When you turn on Cryptozoo, you’re in for something that’s unlike anything else you’ve seen before. It is the most interesting and singular animated movie I’ve seen in years.

Thompson pulled off an extraordinary feat. He introduced a whole new audience to a very impressive cultural event that could have been entirely forgotten. He also reminds us of where and what conditions we all came from as a country and where we’re headed now.

Heder infuses the characters and plot with such deep emotion it makes up for its lack of narrative originality.

Welsh director Prano Bailey-Bond’s feature debut, Censor, is one of those horror movies that sticks with you well after the credits roll. That’s because it doesn’t follow the typical horror movie formula.

Both Wu Ke-xi and Kai Ko were phenomenal in their performances and Midi Z has probably in Mandalay his best work so far.

While it could have easily been a dark comedy, and almost is, instead, it’s perfectly sincere.