A glowing self-portrait of their friendship, a call to activism, a summer bestie comedy full of devilish antics, and a frank immigrant story, this bold slice of life defies easy categorization.

While some creepy and unsettling events are in the film, none truly rise to a level most would recognize as horror. There are a few minor jump scares, but this film lives in its own realm.

Trigger Warning is a self-serious, brooding film without the wherewithal to know how righteously dumb it could be if it committed to the bit. Or, at least, the expertise to elevate it to the suspenseful level it so desperately aims to reach.

It becomes empty, artificial scenes of actors playing dress-up.

Needless to say, the whole film rests on June Squibb's shoulders. She brings to the part 78 years of acting experience, which is a joy to watch.

Black Barbie: A Documentary is as elegant and enriching as the doll that inspired it.

It is triumphant, jarring and pulls its audience into an intimate storyline that demands to be witnessed.

Slave Play. Not A Movie. A Play. is an engaging and thought-provoking experience whose avant-garde approach to storytelling and its ability to spark meaningful conversations make it a truly enjoyable watch.

It's messy in the way that life is messy. It's one of those movies that simultaneously feels too long and not long enough. But there's a purity and earnestness to what it's doing that's increasingly unusual in American independent cinema.

Thankfully, “Queendom” is not a dull documentary on a fascinating subject.

Just the Two of Us is not clever, self-important, or stylistically overt. This is a story, well told.

This is a confounding movie. Its pace is leaden, its structure lopsided, and while Dunham and Fry are both first-rate performers, their respective personae — both public and on-screen — are difficult for them to fully transcend.

Duchovny the director never bothers to ground his melodrama in something that feels real, missing the target on the period in which it’s set and an honest understanding of the people who live and die on the success and failure of their favorite teams.

Both an overstimulated multimedia lecture and an anxiety-stoking conspiracy thriller, “The Grab” urges viewers to follow the money, look at the big picture, and so on.

Ride is a film overstuffed with themes, ideas, and characters, but it works because it's made with the kind of urgency that comes from a filmmaker who has to tell this story and get it out on celluloid right now, or they'll bust.

Julia Louis-Dreyfus gives a performance of breathtaking vulnerability as the mother of a dying teenager in “Tuesday,” a film that tells the story of the most shattering loss of all without melodrama or a score filled with syrupy strings.

Bad Behaviour is a frustrating watch. Englert doesn't wrestle the material into a manageable form, and struggles to find a consistent tone.

Aïnouz rarely builds tension through these machinations; surprisingly, given what’s at stake, “Firebrand” is often a bit of a slog.

Cora Bora, written by Rhianon Jones and directed by Hannah Pearl Utt, is designed to showcase Stalter's signature brand of absurd irony.

The movie’s fun, if a bit staid, when it’s in all-monsters-attack mode, but Ultraman: Rising doesn’t stand out whenever it requires more of your attention.

Stahl’s acting has always had a quiet power, communicating roiling emotional distress under an often vaguely menacing stillness. This gives a fresh perspective to Ryan’s eventual impotence as he negotiates his new identity.

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 script by Hiroyoshi Koiwai doesn’t exactly hold together narratively or thematically, but there are Miike touches throughout “Lumberjack” that keep it entertaining, even if he's probably made a better movie while you’re reading this.

Inside Out 2 zips confidently along, fashioning a hypnotic and transportive imaginativeness that is incredible to take in.

Under Paris has some ecological messaging and commentary on the political games that cost lives, but it’s mostly about sharks and swimmers. And that works in any language.

Nearly every story point in the film is given to you right away or foreshadowed/telegraphed. What remains is the hows of storytelling and the whys of characterization.

Based on the book by A.M. Shine, “The Watchers” is Ishana Night Shyamalan’s directorial debut, a fabled narrative that seesaws between fantastical whimsy and proposed horrific terror with lots of ambition but little finesse.

I Used to Be Funny works through its themes in a thought-provoking way, structuring the story more like a mystery to be solved for its main character to move forward and touching on issues of consent and relationships along the way.