Oddity delivers a brilliant, bespoke, and tightly entertaining string of ideas that work stronger as a collection

Luzzu is beautifully shot, if at times emotionally restrained, in its centering around a man who’s occasionally hard to read. But it boast a true discovery in the casting of Jesmark Scicluna, a real fisherman who plays a version of himself, and here playing a struggling parent trying to eke out a living along the docks.

Depending on how you look at it, Black Dog is either the most violently depraved feel-good animal movie in recent memory or the most wholesome neo-noir we’ve seen in a while.

A horror movie — even one as grounded and genre-adjacent as this — can’t hope to survive if it doesn’t even feel believable on its own fantastical terms.

Warfare is a film that wants to be felt more than interpreted, but it doesn’t make any sense to me as an invitation — only as a warning created from the wounds of a memory.

Beware of Mister Baker won the Grand Jury Prize at the SXSW Film Festival earlier this year, perhaps because it was the best embodiment of a recent trend in the non-fiction realm.

Offers a wry snapshot of self-involved New York lesbians that’s both enjoyably smarmy and unsettling in equal doses.

In the Fog develops an unearthly spell that largely makes up for its cerebral pace.

The excitement in The Soft Skin, however, gives way to an intense tragedy that's INFORMED by the thrills.

By its closing credits, Dìdi resembles the often-exasperating boy it has been following for 90-some minutes: charming, rough around the edges, and brimming with potential.

Through its hushed portrait of loss and reclamation, After Yang whispers a powerful fable about an all too present tomorrow in which people are more intimate with technology than they are with their own family. Few movies have ever felt so knowing or non-judgmental towards the love that we divert onto material things, and even fewer have so earnestly speculated that those things might be able to love us back.

This may be an offbeat and textured snapshot of history, but it still holds at its core cold anger on behalf of the dictatorship’s victims and interest in how the people will receive updates about their future.

Moore’s compassionate performance confirms the strength of the original and its beloved heroine’s universal appeal. More than that, Gloria Bell proves that the best stories can be told endlessly, so long as they’re told well.

Aided by “Under the Skin” composer Micah Levi’s thunderous score, Landes delivers a suspenseful encapsulation of alienated youth enmeshed in pointless battles that can only lead to further destruction.

Like that abyss, the film offers a substantial degree of exploration for those willing to do the work and take the dive.

Blue Jasmine belongs to Blanchett, who appears in almost every scene and frees it from the limitations of Allen's style, pushing it to far sharper results than any of the more traditional movies, good and bad, that he's churned out in the past dozen or so years.

As much a film about crises of faith as it is the powerful friendships between women, The Innocents steadily unfolds over its nearly 120-minute runtime, revealing new secrets and new surprises (most of them, but not all, appropriately gut-wrenching) at every turn.

The sensory appeal of the technical limitations only lasts for so long. And as a feature, “Dry Leaf” does feel oh so long once there soon proves to be little variety to the bag of visual tricks over three hours.

A meditative universe of self-contained artistry, Junun offers no clear-eyed statement on its subject, but develops an enveloping internal logic about the thrill of artistic innovation.

Once again, Shults has delivered a top-notch psychological thriller, but It Comes at Night builds an unnerving atmosphere around unspecified sci-fi circumstances.

Good Luck to You, Leo Grande is a touching little two-hander that does right by its title character even if the lion’s share of the conflict in this audience-friendly charmer hinges on Nancy’s seesawing relationship with herself.

Unable to express the sorrow of Cory's passing or the larger sense of detachment from the world it represents, most of the people in Putty Hill try to remain disaffected. By pestering them with questions, Porterfield gets under their skin - and, in the process, ours as well.

An awesomely violent and artfully staged piece of animated pulp, Predator: Killer of Killers feels like a movie that was dreamed up by a couple of stoned teenage boys in a suburban basement one night during the summer of 1987, but this is the rare case where that feels like a good thing. A very good thing, even.

The “John Wick” saga has changed and evolved throughout the years, For this film, there is no denying how it has made Chad Stahelski one of our best action filmmakers, and how the franchise gave Keanu yet another career-redefining role. It’s been a wild ride, and one of the best and most consistent movie series ever. No matter where the roads lead, however, “I’m thinking John Wick is back.”

As much as Jenkin’s film is hypnotic and strikingly realized, in the final half hour it runs out of tricks up its sleeve.

Even if it occasionally makes you crave more narrative heft or elaboration about the facilities it discusses, the film is a vital work of public service that demonstrates why we can’t cure these social ills by simply throwing more money at them.

With its dense assemblage of archival materials and candid talking heads, “Roadrunner” gets the job done, yielding a tough, infuriating tribute to Bourdain’s ineffable genius and the tragic inclinations that came out of it.

As a 92-minute commercial for a deeper look at the case, Amanda Knox is unquestionably intriguing; as a standalone offering, it makes one hell of an airtight case for something bigger and better.