Little Trouble Girls is a confident debut from Djukić, who captures so much life and perspective into a dreamy 90-minute film. Making it even more impressive are wonderful debut performances from Ostan and Svajger.

Oxman has a great directorial voice and uses close-ups and wide shots to allow the audience into her characters’ world.

A near-perfect parody chock full of witty wordplay, ingenious physical comedy, and diabolically clever sight gags.

Those who exist within the warm bubble of environmentalism will surely connect the dots between the tidbits the filmmakers present. But those who take the film’s paean to critical thinking at face value will be left disappointed, searching for answers.

There’s simply nothing of value here, not even the thrill of an adrenaline rush from a cheap jump scare. Any attempts at shock are hollow and laughable. The viewer is likely to leave the theater feeling similar to how Josh Hutcherson appears in this film, understandably checked out, vacant, and simply worn down.

The act of dreaming itself is what sustains us. Life is unpredictable, and dreams are sacred, which is why it’s nearly impossible not to find yourself rooting for someone as foolhardy as Marty Mauser, or for the beautifully unhinged vision of Josh Safdie.

Disney producing a beautifully animated film full of cute anthropomorphic animals may not be much of a surprise, but the quality of the screenplay is.

Copti’s direction coaxes authentic performances from his cast of non-professional actors and the script explores challenging themes in a compellingly even-handed way.

A beautifully crafted documentary that’s a celebration of the profound ways in which women like Sara Shahverdi can – and do – change the world around them.

Wicked: For Good is a lovely ode to the beauty of female friendship, the spirit of individuality, the power of goodness in the face of authoritarianism, and the influence one true friend can have on an individual to grow into their full potential.

Keeper may not be as deeply horrifying as “Longlegs” or as darkly funny as “The Monkey.” Still, it demonstrates Perkins’ continued evolution as a filmmaker. He refuses to make the same movie twice, using horror as a way to explore new stories, emotional territory, and deploy new tones and techniques.

At the heart of it, perhaps Wright just wasn’t the right fit for this story, as many of us had hoped he would be. That being said, what he’s able to get out of Colman Domingo as “The Running Man” host Bobby T is worth the price of a ticket alone. If anything, like most films, it could’ve used more of Domingo.

Dragonfly could have been a gem to watch with a cup of tea on a rainy day. It has brilliantly nuanced performances and a heartwarming tone, but it doesn’t seem to trust the quiet power of its story. Instead, it’s ultimately undone by a clumsy, horrific final act. It’s a film that needed more faith in its own heart.

This is a powerfully intense erotic drama that exposes its central character’s exploitation of both the wealth gap and the age gap to devastating effect. Here’s hoping Chastain’s collaboration with Franco continues because they are doing exceptional work together.

This is an accomplished debut for writer-director Bresser, a superbly acted and beautifully shot mystery thriller with a strong sense of place and some satisfyingly Lynchian undertones.

This is an entertaining and emotionally engaging mix of music and song that will play well to both die-hard fans and newcomers alike, with Bono proving charming company throughout the film’s 87 minute running time.

Yes, it’s ridiculous. No, it doesn’t make perfect sense. But, damn, if it isn’t a hoot and a half to watch.

With warmth and sincerity, “I Wish You All the Best” becomes a reminder that kindness matters and that sometimes, the compassion of others can truly save a life.

In Your Dreams doesn’t reinvent the animated adventure, nor does it need to. It’s a whimsical, sometimes chaotic journey that effortlessly balances humor, imagination, and heartfelt emotion.

This is a powerful, well-made, urgently topical thriller that should put writer-director John Swab firmly on the map.

It’s a portrait that isn’t the most effective, but has enough pieces worthy of appreciation.

A pair of excellent performances from Rosamund Pike and Matthew Rhys, led by clever direction from Babak Anvari, make this a tense, captivating thriller, even while set in only one location.

Director Maria Friedman has brought her landmark Broadway revival of Stephen Sondheim's most notorious flop to the screen that, in several key ways, actually improves on her heralded staging. The much-awarded performances of Radcliffe, Groff and Mendez shine even brighter on the big screen.

Regardless of Eliassi’s commendable efforts to enact real change, she’s a limited messenger in the pursuit of coexistence.

Chastain, Wasikowska, and Hiddleston do their best, but the writing of “Crimson Peak“ comes off far more slight than Del Toro’s previous work. It lives in the shadow of similar films, but with a far more unrelieved energy. Del Toro and Robbins eventually find a groove, but by the time that occurs, it’s far too late.

Honoring its protagonist’s struggle by embracing every bit of the difficulty of that struggle, while keeping a deliberate (if not exactly slow) pace, keeps the film grounded in a darkness that Fonzi ensures is always present. While that might seem overwhelming, it gives the film a sense of realism that lifts it above most legal dramas.

Dylan O’Brien delivers a career-best performance, and James Sweeney shows both a deft hand and great talent behind the camera as director.

If this film is anything, it’s a profoundly curious look at why we often shy away from what we feel are weaknesses. It also brushes up against this same penchant for uneasiness in the face of death with a lot of heart and honesty.