It may not quite reach the heights of Fargo, but if you enjoyed Cold Pursuit or the inferior-but-similar Daughter of the Wolf, then Blood and Money will be right up your dirt road.

In any biography/drama, the key is to make audiences believe this is the real person from history. Capone just never gets there. That could be Al Capone, but nothing in the film makes me believe it’s him, nor emotionally connect with him. Capone wastes a lot of good talent, and it’s a shame.

If you want to hear the story of dreamers fulfilling their outlandish dreams, this is the film.

The important part about Becoming is not necessarily the facts you learn about Michelle Obama, but seeing her in action.

Driveways is short but effective. It’s more about mood than the overall plot.

How to Build a Girl is an incredibly fun movie.

If you love musicals, teen romance, and the 80s, you’re going to have a blast watching Valley Girl.

He and Côté write an ode to human resilience; they compose a soliloquy about lost identities; they paint a portrait of people seeking meaning, guidance, warmth. The result is a soulful cinematic treatise on the gradual, painful loss of a city’s soul.

This film is very much of our current era, but you can even be *gasp* over 30 and enjoy CRSHD, even if it is a little reminiscent of a lot of the college movies that came before it.

The female-centric, lo-fi South Mountain is an excellent example of how little a budget matters when all the other puzzle pieces are in place. We need more cinema like this.

While far from a straightforward documentary about a widely marginalized film, You Don’t Nomi reminds us that it’s okay to like things with rough edges, that streamlined perfection is overrated and, more than anything, it’s okay to deeply love something that most other people loathe.

Once attuned, you’ll be rewarded with a sharply funny and oddly heartbreaking, albeit clumsily structured, indictment of our government... Armstrong’s razor-sharp trademark one-liners go a long way in saving this Day.

If you have a strong distaste for ICE as I do, you will love the way these kids get one over on them in The Infiltrators.

Tammy’s Always Dying is a movie that does everything right but still somehow fails to be enjoyable. It is in every respect a good movie, but I can’t say that it was at all a pleasure to watch. It is well written, acted, and directed, and it skirts the line of overwrought melodrama and poverty porn.

The Flood nearly sinks under the weight of its contrivances, but is barely kept afloat by its two central performances.

What is most frustrating about 15 Years is just how much it gets right while so narrowly missing the mark.

This is a long-overdue must-see that sets the record straight for a woman whose whole life was glossed over in favor of a more camera-ready tabloid romance.

A by-the-numbers underdog story, bolstered by an infectiously joyous spirit and admirable energy. Those with fond memories of 1990’s bands like Soundgarden and Pixies will especially respond to the nostalgic vibes.

This extreme level of intimacy also becomes the film’s main drawback, however, as Mason is so close to her subjects that there’s no way she can possibly remain impartial.

Eating Up Easter is another documentary exploring the tension a society faces when confronted with potentially being left behind in a rapidly changing world. Documentaries such as this, always paint progress as the antagonist, and rightfully so. The struggle to hold onto one’s past is an underdog fight and, at times, an unwinnable one.

1BR has a lot to say about what a person is willing to sacrifice to be happy and if said sacrifice is worth it. It does so effectively and intensely, with a smart script, a few plotholes aside, and excellent directing. The acting across the board is terrific, and the culmination of Sarah’s tumultuous journey during the berserk ending is well worth taking.

As you follow Ned into adulthood and bear witness to his many exploits—bare-knuckle brawling, throwing together a gang of brutes who wear pretty dresses, walking into a gunfight with a homemade suit of bulletproof armor, and more—you figure out quickly that the movie’s biggest strength is its desire to disgust and disorient.

Judy and Punch is at times gut-bustingly hilarious, brutally uncomfortable, and joyously irreverent.

It’s like a video game, but with Chris Hemsworth doing all the killing and maiming. Again, the stunts and special effects are fantastic, and as far as action movies go, there are far worse options out there.

If you want to know more about cult cinema, Time Warp: The Greatest Cult Films of All Time is a great place to start.

It will make you laugh, it will make you cry, and it will make you think. That doesn’t happen all that often in the same movie.

The level of craft in Poe’s feature debut exceeds that of directors with more experience and portends a long career with more wonderful art to come. In Selah and the Spades, she has created a new classic tale of power, love, hate, loyalty, and betrayal featuring a stunningly talented cast.

This film felt more like an “afterschool special.” What I mean by that is that this movie felt very “safe."