For those of you who miss films made by adults and for adults, films which treat things like sex and loneliness with respect and honesty, "True Things" isn't to be missed.

Watching the film is almost like feeling the muscles in your eyes shift, as you look up from reading a book to stare out at the ocean.

From the beginning of Ammonite, writer/director Francis Lee trusts his lead performer to convey an incredible amount without dialogue. And that trust pays off in one of the best performances of Kate Winslet’s career.

Joanna Arnow’s second feature is a symphony of ambient embarrassment, whose movements are structured around the various men with whom the protagonist, Ann (Arnow), has relationships of varying length and ambivalence. Within these movements, Arnow hits uncomfortable notes that range from cutting corporate indignities to the ritualized abjection of erotic humiliation.

Fancy Dance reminds us of how communities care for each other, regardless of the risk involved. Tremblay’s narrative debut is simply beautiful, and hopefully, there’s much more to come.

It's fascinating that while the movie deals with exceptionally grim material, it never becomes too unbearable to watch.

Nebraska is full of complicated people marked by flaws and failures, mistakes and regrets; they can be selfish bastards, too. It often feels as though Payne is trying to strip away the cliché that the region is populated exclusively by hardworking, decent hearted types.

While the clues of impending horror emerge long before this episode of camaraderie—signaled by Sune Kølster’s unnerving orchestral score from the opening frames—nothing can fully prepare you for the appalling dark places “Speak No Evil” is headed to.

Vanicek’s first feature is an impressive debut, driven by an energetic fright, turning a worn-down apartment complex into a catacomb of spider webs, moving shadows and blocked escapes.

This is a smart and loving movie about female friendship.

Considering this particular environment is being replicated by other law enforcement departments, Maing’s film becomes crucial to the discussion on quotas and the toll they take on the populace and the police.

A typical biopic buoyed by its unrelenting hilarity, its affection for its subject and commitment to the time and place it is set. And yet, something still nags at me about its lead performance. Don’t get me wrong, Murphy is very, very good, and on the basis of this, I’d love to see him tackle Pryor next. I just buy him more as Rudy Ray Moore than I do as Dolemite.

A twist that brings together native myths and modern challenges is at first surprising and then surprisingly satisfying. We leave the film feeling like we've found some 'Ohana ourselves.

The Best Man Holiday has the potential to become a staple of Christmastime movie watching in the 'hood.

Armstrong’s version of tech-bro bantering is a lot more literate and zingy than actual tech-bro bantering would be, otherwise the picture would be rather a bore. After a while, it begins to evanesce, like ice-breath does in the mountain air.

Besides being a riveting true-crime story, Shawn Rech and Brandon Kimber’s A Murder in the Park is a film that makes a powerful case that some cherished liberal beliefs aren’t always congruent with the truth; in fact, sometimes they are the exact opposite.

The film has merit as a sprawling and effective work that combines the expected action beats with quieter, character-driven moments, and elements of pure weirdness to surprisingly strong effect. Even when it doesn’t quite work, and it's undeniably uneven at times, it at least has the good taste to offer up flaws borne of ambition instead of laziness.

Expertly editing together moving interviews with its subjects with archival material, Crip Camp: A Disability Revolution becomes a commentary on how to change the world. It’s not just common human decency that should lead to equality for disabled people, but the truth that empowerment for everyone is the only path to true progress for anyone.

Its visual landscape is unlike any I’ve experienced, and though everything about it is aggressively repellant, it still managed to hold me in a constant state of gobsmacked awe.

An earnest and important film. It deserves to be seen by anyone who is interested in documentaries and anyone who is interested in the simple human stories movies too often overlook.

To its mild detriment, Beginning stays on a cerebral plane even at its most ravaging and emotionally intense. But in its muted havoc lies a potent intellectual laceration.

Rogue One is a letdown in other areas, and there are creative decisions so ill-conceived they take you out of the story. But somehow these aren't enough to sink the movie, which manages to succeed as both super-nerdy fan service and the first entry since the 1977 original that will satisfy people who have never seen a "Star Wars" film.

This wickedly funny, blood-soaked portrait of a decaying tyrant hits streaming on the week of the 50th anniversary of Pinochet’s coup against President Allende. Larraín offers no false hopes about eradicating the ideologies that allowed it to happen and last. Instead, he warns that evil never truly perishes—it just transforms to poison new minds.

Superboys of Malegaon, about film buffs obsessing over films and then making one of their own, is one of the most accessible and entertaining movies about the creative urge that you’ll see.

Simply as a technical spectacle, Taylor Swift: The Eras Tour is a dazzling achievement, capturing the sensation of seeing the pop goddess’ sold-out concerts in all their enormity and intimacy.

It’s not a hard movie to follow or fall for, as fans of Guiraudie’s earlier movies already know. He commands our attention even when his characters are either too ridiculous or too petty to be taken seriously.

Dayveon stands out with its vision, regional flavor and overall personality.

There's more going on here than meets the eye. The Night of the 12th runs deep. The film's effectiveness lies in its matter-of-fact surface and its roiling wordless interior, the stealthy way it makes its points (without announcing "This is The Point").