On the Record does a lot of things very well, but what it does best of all is back up Mayo's eloquent and pained statement. Everybody loses when women go away.

The Wedding Plan feels less like “My Big Fat Jewish Nuptials” and more of a faith-based variation on a Disney princess fantasy. Instead of a fairy godmother, God himself will find her Mr. Right.

There are laughs aplenty, even as “Sister Midnight” begins to lose creative steam, with the wheels falling off, and the further it falls into the repetitive macabre. But Apte remains the glue holding it all together as the film imagines its prototype of the monstrous feminine.

While Westwood is certainly a remarkable personal and cultural figure in many senses, it’s too bad she’s not more willing to discuss the genesis of punk, since it’s likely to remain the primary thing she’s known for.

I’ll gladly take a documentary about a pop culture moment with too much to talk about when so many of them feel like they have nothing to say beyond what we already know and love.

"The Last Movie Star" paid tribute to Burt Reynolds' career, but also appreciated what he brought to the table as an old man. The Life Ahead operates the same way, allowing Loren similar grace and space.

Most effectively, Barfoot and his team turn this cold, remote estate into a character—returning to it provides none of the standard warmth of a happy home. We can feel the chill in the air.

It helps a great deal to have a wickedly fun ensemble ready to play this murderous game, led once again by a physical, engaged, immediate performance from Samara Weaving.

The result is a film that feels less like a lecture than a provocative X-ray of current American political realities.

Freaky is a fun, frisky, and nostalgic ride that delivers laughs, various inventively bloody kills, and on occasion, even some 21st-century-appropriate observations on gender norms and sexuality. Just don’t expect to be surprised a great deal by it.

The film’s most affecting moments are when Murad speaks directly to the camera.

Vigilante justice has taken a new form in an era of internet mobs, but Ryoo hasn’t made a simple cautionary tale about online justice—he’s crafted a film that’s wildly entertaining but also has a great deal on its mind about how far we should be willing to go to balance the scales. Is there such a thing as good murder?

Filmed in Central Appalachia—including the director's home state of West Virginia—King Coal moves beyond shallow impressions of the region with a real love for her neighbors and prodding questions about what it means to identify with an industry that has harmed and exploited generations of families.

Filmed in a rich black and white, director Zeshawn Ali’s documentary and feature debut Two Gods is an intimate, lyrical exhumation of the cycles that haunt Black youth and the challenge of putting to rest old habits.

The just-shy-of-great teen comedy Dear Dictator is the rare high-concept coming-of-age story with enough warmth and smart-ass charm to (hopefully!) make it accessible for a fairly wide cross-section of moviegoers.

Israelis call the events of 1948 The War for Independence, while Palestinians call it Nabka, or The Catastrophe. It's hard to imagine how the two could be reconciled, and "Tantura" doesn't try. It has its hands full just trying to establish what happened, and encouraging participants and beneficiaries into accepting what it meant.

A Cop Movie, directed by Alonso Ruizpalacios, is exceptionally challenging to begin with. As the movie unspools, and the layers of its production become clearer, we understand the challenge is the movie’s entire objective—up to a point.

Omen excellently captures the feelings of both cultural and generational alienation. In script and performance, there is never a moment of certainty.

As Vázquez keeps adding elements in its last half hour, Unicorn Wars starts to feel like the beginning of a trilogy, or maybe a TV series that got canceled unexpectedly and had to wrap up its storyline in a handful of episodes.

With such great music coming, one hit after after another, it's always a joy to watch.

Made in collaboration with Yves Saint Laurent, “Parthenope” is nothing if not a sumptuous feast for the senses.

Writer/director Zach Cregger proves himself to be a bonafide jack-in-the-box horror filmmaker with "Barbarian," beginning with a nightmare that could happen to any of us—a double-booked Airbnb.

A documentary with a defeated spirit, but with fleeting glimmers about why the oppressed keep playing.

Venom: Let There Be Carnage is zippy and breezy.

Written by Jesse Orenshein, the script for “The Secret Art of Human Flight” is just as inventive as it is emotional.

The result is a film that can be a bit dry when Oppenheimer leads the scientific discussion but that comes springing back to life when Herzog the filmmaker allows his awe to come through the camera.

Gagarine plays like a mournful lament for a community that banded together during hard times before being separated and scattered to the winds, leaving no trace of its communal existence behind.

Ip Man 3 also sneaks in welcome moments of mushy romantic sweetness between Master Ip and his wife, Cheung Wing-sing (Lynn Hung).