Game Changers does a formidable job of patiently tracing the history of game shows from their very inception to the current deluge of such shows on TV.

Heavy Trip is an absurdist, powerhouse folly, which feels spunky enough to honor the musical genre and comes filled with deadpan hilarity to please comedy addicts.

Much like anyone in the throes of recovery, this journey is not a nice, tight, three-act Hollywood story with a perfect dramatic ending. Finding “normal” is a distant speck on the horizon for Hogancamp and this film depicts only a small segment.

Then Came You has a little of every romantic film that you’ve seen in the past two decades, and even though it’s not quite original, it still is a good film that will give you a lump in your throat. The talent in front and behind the camera are reasons alone to give this film a watch.

It’s a delightful comedy about some of the darkest stuff we can go through as humans, which can only be pulled off by certain writers and directors. Gus Van Sant is definitely one of them.

This film is arguably one of the most unsatisfying films I’ve had the disservice to watch.

Although Great Great Great might not be as gripping and memorable as its name indicates, it manages to uniquely capture the essence of the lives of middle-class young adults trying to come to terms with the fact that their journeys will be very different from their parents’ and that nothing is as easy it seems in this trying time.

The best thing I can say about A Dog’s Way Home is that it’s an exceptional film, that you’d find on the Hallmark Channel. Science has yet to count just how many strings the human heart has, but A Dog’s Way Home tries to pull every damn one of them.

Virginia Minnesota prefers to wade into darker waters for the sake of more compelling, everyday drama.

As ambitiously artful as it is infectiously engrossing, Birds of Passage brings an invigorating worldview to a genre so often riddled with clichés, weaving an astute tale of fortune and destruction as it explores long-held indigenous traditions.

Welcome to Acapulco – at least partially – warrants your investment. It may not reach levels of great trash, but it sure aspires to such, and is always watchable, if only for the sight of thespians hamming it up for a buck. Here’s (vainly) hoping that Welcome to Acapulco will put those fallen legends back on the map.

If you approach Alita: Battle Angel like a standard action film, where you’re there just for the stunts, you will have a good time. The world created by James Cameron and Robert Rodriguez is visually stunning. Rosa Salazar is fantastic as Alita, and she shines in her mocap performance.

A low-key, warm-hearted-but-razor-sharp study of ambition, friendship, and humanity’s inherent differences – be it between two friends or two cultures – The Saint Bernard Syndicate leaves a lasting impression and is eminently rewatchable.

The Golem is creepy, as the cinematography is awash with atmosphere and the use of such a creature is interesting. The dramatic side of things mostly holds up as well, and when combined with the excellent acting, the movie turns out to be very effective and memorable.

Darkly comic, disturbing, and fun, Piercing is a vulgar little thriller that is one you watch without the one you love.

A sweet, wistful piece, it is difficult to ignore the agonizingly slow way it gets to its main point – forgiven only because of a strong ensemble that adds considerable weight to the picture.

Some people, including a couple of people I watched the film with, may see The House That Jack Built as pretentious nonsense. Others will see it as the glorification of violence. I see it for what it was intended to be, a work of complicated, violent, hilarious art.

In the end, what’s left is yet another bad Amityville movie that fails to entertain or scare. Still, the house does look scary. Maybe if they try one more time…

You’re definitely going to laugh and laugh out loud. Young has several hilarious moments with his subjects, and the absurdity of these musicals and songs create an endless stream of silly giggles.

All of the performances are at least solid, and for an indie, the production value is impressive. It won’t reduce you to a weeping mess, but at 78 minutes it’s a trim, satisfying drama that does justice to its inspirations.

Farhadi fails to provide startles and thrills, relying solely on the dramatic side of things to impress. But even that factor is disastrous as he tiresomely attempts to suggest connections between the past and the present.

The Nightingale is another triumph for Kent. Not one to aim for more crowd-pleasing material and palatable choices, she directs this visceral and moving revenge picture with a very sure hand.

Joe Cornish has pulled off a fantastic feat- a children’s fantasy adventure that balances the drama, action, and humor perfectly and will keep an audience of any age entertained through its entire runtime.

Clemency is a staggering achievement in its portrayal of a story that we often ignore out of simple spite or ignorance that humanizes all angles with compassion.

Where’s My Roy Cohn? is a great doc that’s a tad aesthetically stale, but it will have a mass appeal even to those unfamiliar with Cohn and uninterested in politics and law.

This film is definitely the Mads Mikkelsen show, and it is one of his most powerful, emotive performances to date.

This is a documentary that is very difficult to stomach.

There is humor, drama, and sexual indiscretion, with entertaining and sometimes insightful moments, but the themes are so narratively ill-defined that it never gels.