By acutely matching this fishing folktale’s uncertain vibe as a film not about ghosts but about madness, Turner and MacKay’s “Rose of Nevada” moves with a perfectionist control through unknowable waters.

Finnegan’s Foursome will deliver a few chuckles, but the most hearty laughs will be for anyone who knows the difference between a 7 iron and a 7 wood.

This is a rom-com with many themes and an acute (sometimes pink) eye for current dating woes, social media pitfalls, and misogyny.

It’s a special little film with a warmth that feels as natural as the passage of time.

Maddie’s Secret possesses a tenacious commitment to clichés and stylistic hyperbole, and while it is certainly a parody, it is undeniably delivered with reverence: an ode to the idolatry bestowed upon characters like Rory Gilmore.

Nawal’s womanhood, colored by the intersection of traditionalist society and internet enlightenment in which she exists, is the real meat of “Unidentified,” a film that shoots for the juicy bite and gets the gristle instead.

Shoot the People thrives on its visual storytelling, amplified by composer Nik Ammar’s score, which is string-forward, strumming our inner fire to help us fight harder for change.

Acknowledging its aggressively absurd, obnoxiously obscene tone from the jump, “Never Change!” is one of those deadpan-yet-deranged comedies where everyone acts like a foul-mouthed, damn-near-sociopathic lunatic… but in a supposedly funny way.

Bird and Clausen’s performances bring an elevated energy to the premise, and their chemistry causes the overall film to come across as more romantic than horrific.

I couldn’t help but be moved by the animated picture’s digestible message, which resonates not only with parents and children alike but also with those worried about a social media culture that values creating an impossible standard by prioritizing image over being yourself. We’re losing something uniquely human between tabs, under signal strength, and over social content. “Toy Story 5” hopes to claw us back to reality.

For once, a Robin Hood film has come along that challenges us to think about what redemption costs.

Stop! That! Train! is shooting for camp, a style that thrives on an overflowing cup, but as a viewer, our perspective leaves us seeing things as half empty.

That sense of community solidarity and immigrant resilience weaves through the fabric of Sehiri’s quiet, observational drama, which tells the story of a tight-knit group of Black immigrant women trying to survive and make ends meet amid Tunisia’s unwelcoming immigration environment.

There’s respect to be had for films that take big swings, potentially even risking offense to deliver their thesis with gusto, but “Find Your Friends” is a sloppy, party porn massacre of themes.

While some elements of the story may seem quaint to other parts of the country, the Sheas show us that Flag Day may be Three Oaks, but Three Oaks is us.

Other, better movies will inevitably come to mind as you watch “Kraken”—not because it’s so bad, but rather because it might have been as good as you hoped.

Written and directed by Madeleine Rotzler, the film is a general wash of generalized muted feeling, where nothing coheres because nothing sharpens into focus.

This is a whooping-and-hollering movie. It’s more than satisfying. It’s bloody heaven.

So much of the magic of “Soy Frankelda” is the sheer scale and skill with which they present the unreal, at times almost overloading the frame with their menagerie of monsters when the narrative calls for it.

A movie that reminds viewers that blockbusters can be morally and thematically complex while they’re entertaining the hell out of you.

In 2026, a “Scary Movie” making fun of “Scream” movies, which from the get-go were inside-joke takes on horror films, is like a Russian nesting doll of comedy, where the laughs get smaller with each reveal.

Herzi takes great interest in the moments when Fatima’s mask slips slightly, allowing these instances to reach for something so real that it delivers a palpable fright to her protagonist’s core.

In every category, this fails to come up with anything witty or imaginative.

Lotta sound and fury (not just the gunfire, but Mike Forst’s “I Heart Hans Zimmer” score), but not much signifying.

One could also imagine a version of “Carolina Caroline” told as an “homage” to crime-spree movie tropes, with all the style and no substance. We’ve all seen that movie a hundred times. Rehmeier, though, cares about individuality, and he has a sense of humor. He doesn’t force chemistry, but he leaves lots of space for it.

While Ripstein’s satirical approach lends an appealing bassline, his format fails to capture the victory’s emotional resonance.

In 82 compact minutes, the writer-director navigates this brilliant idea with ease, ridiculing the ridiculous right-wing moral panic called “the bathroom scare” by showing its actual silliness at face value.

Signal One is modestly scaled and independently made, and seemingly has little in the way of a promotional budget, but it’s the kind of work that should have very long legs based solely on its merits.