Barthes’ thought-provoking script is backed by phenomenal performances from Clark and Ejiofor. And despite its longer-than-needed runtime, the feature is sure to keep audiences entertained from start to finish.

The overall momentum stalls and prevents A Lot of Nothing from sticking its landing, but it's a promising debut from McRae, who has a strong grasp with regards to maintaining much of the film's tension through dialogue alone.

With an excellent ensemble cast and intense character dynamics, Knock at the Cabin is a high-stakes horror that delights in the doubt and confusion that arises.

Allen-Miller’s inventive feature debut suspends everything one may know about moving on too soon and getting over heartbreak. The creative world she conjures is vibrant and entertaining, leading to an experience that is humorous and immersive.

It’s a fascinating story to balance, and though it doesn’t always work, Finley really runs with the concept and its various themes. It’s safe to say there’s never a dull moment in the film, and it isn’t predictable in terms of what comes next.

The strength of the story rests firmly in Derbez's sensitive portrayal and his touching moments with each student, proving that Sergio does know how to spark a genuine excitement for education by tapping into a child's personal interests.

Emotionally effective and often quite tender, the film boasts understated, powerful performances from Emilia Jones and Scoot McNairy.

As hypnotic as Eileen is, the film ultimately falls short. Its final moments suggest that it could have become a completely different film than what was initially presented. Had there been enough time to flesh out the story and build up the tension, the final Rebecca twist would have worked a lot better.

There are some good moments in Shotgun Wedding. Lopez, Coolidge, and Lenny Kravitz are game and there is a Herculean effort from the trio to do something worthwhile with the script they are given.

It’s meant to shock and disgust — and it does — but while Infinity Pool starts off interestingly enough, its take on power, corruption, and privilege only goes so far.

Cat Person is not as compelling as it perhaps aims to be and, though there are great — and even uncomfortable — moments in the film, it doesn’t justify its tonal shifts or its feature length.

Flora and Son is energetic, easygoing, and charming. With a great cast, lovely musical numbers, and a stupendous lead performance by Hewson, Carney doesn’t disappoint.

All Dirt Roads Taste of Salt’s non-linear approach requires patience and its character development is a bit thin, but the film is stunning, thought-provoking, and poignant, with each frame lovingly executed.

Bolstered by a fantastic lead performance by Priya Kansara, the film is an entertaining ride, one that is filled with love of sisterhood and energetic chaos.

It’s soulful, tender — an understated triumph. Song’s directing and writing is confident, bringing so much heart and nuance to a simple story that is inspiring, delicate, and evocative.

There is too much history — both in terms of the characters and the mythology — for newcomers to truly appreciate the events of the film. But it's unlikely to fully satisfy even the diehard fans either, even if there's some wicked enjoyment to be had seeing the Teen Wolf characters finally get to swear.

Domont’s feature is occasionally uncomfortable to watch because of how things unravel, but it’s unnerving and utterly heart-pounding in all the best ways. An exceptionally strong feature debut from Domont.

Anchored by strong performances from Daisy Ridley and Dave Merheje, the film has pacing issues, but it's emotionally resonant, humorous, and relatable.

Even in the most discomforting moments, director Parmet finds a way to delicately balance morally complex issues. The Starling Girl, even with its unsettling themes about abuse, is a triumphant effort about finding love within.

Alice, Darling is a respectful and piercing character study that also serves as an excellent showcase for Kendrick's talents.

When You Finish Saving the World is filled with interesting ideas and scenes, yet is hindered by character development that feels incomplete.

Viewers willing to give it the same, almost spellbound focus the protagonist gives this case will find it a compelling meditation on things as wide-ranging as racial otherness, fraught mother-daughter relationships, and the real-world slipperiness of concepts like truth and justice.

The Seven Faces Of Jane is an experiment that just does not deliver the right results.

If there is any justice, Door Mouse will garner the attention it deserves for being a well-defined narrative brought to life effectively and efficiently by a talented director whose imagination and creative drive become more evident with each scene.

Though it runs out of steam during its second act, Butler and company do everything they can to keep the energy going, closing out the film with a well-earned bang.

This isn’t a film that relies on gimmicks and shock value. Instead, first-time feature directors Johnson and Merrick masterfully craft a story that relies on social media and technology to the benefit of the script. And thanks to a well-framed story and clever structure, everything comes together by the film’s end, revealing the answers from clues that just may have been there the entire time.

Watching Tár is akin to listening to a symphony orchestra — it's moving, passionate, and will leave one wanting more long after the lights come up.

The film's events feel natural, so the audience doesn’t have to dig deep to understand and relate to the characters. Combined with a hilarious cast who are all on the same page, The Drop delivers an entertaining enough viewing experience.