The color palette stays consistently vibrant with the comedic theme of the film and of a city like Alabama. Paired with measured pacing and a satisfyingly calibrated ending — where most characters get what they deserve — Signing Tony Raymond leaves viewers smiling at a familiar underdog story, confidently and capably told.

Worldbreaker has the skeletal framework of a great dystopian thriller, but never progresses beyond surface-level worldbuilding. Even so, it effectively captures the resilience of a family that doggedly battles the odds for survival in a world teeming with chaos.

Lang really goes for it here, and he sells the material as best as he can, but suffice it to say that Hellfire is only as entertaining as your bandwidth for bog-standard action fare.

Despite having some really good parts driving it forward, it's unfortunate that The Mortuary Assistant never quite finds its rhythm.

The creepy imagery in the first act improperly sells just how dull the movie ultimately ends up being for the majority of its overlong runtime, and while its snail-like pacing and lackluster acting fail to make its psychological themes land with anything more than a mute thud.

Sykes brings what she can to the proceedings, but there's only so much she can do to make Undercard even slightly distinctive.

If Heated Rivalry could help with queer representation in sports, perhaps Youngblood could help crack the foundation of racism in hockey.

It's a deliriously perfect, laugh-a-second satire.

Despite its outward sullenness, The Projectionist is so well observed in its smaller moments that it contains within it an unusual kind of hope.

Thankfully, despite the movie feeling imbalanced in parts, One Another still proves to be a generally charming enough diversion.

In between nonchalant murders, Beers, Bacon, and Sedgwick aim for grounded heart-to-heart conversations of a kind that don't exactly feel at home in the movie's otherwise topsy-turvy world. But being that this is a real family that has worked together for decades, their chemistry elevates the somewhat lackluster writing to deliver a pleasurable, if tame experience.

This may well be Fanning's best performance to date, an intricately laced characterization of someone who is as filled with determination and dignity as she is by indecision. As Wendy, Fanning has a special way of presenting someone that can be both open and closed in equal measure: smiling through difficulty, forceful and righteous when angry, light and airy when experiencing joy.

Einbinder, who is about to enter into the last season of Hacks, for which she has won an Emmy award, turns in a magnificently dialed-in, heart-forward and honest performance. Theroux has rarely been this funny and he somehow makes what could be a cartoonish character feel believable and sympathetic. Reynolds and Gluck equally bring forth gravitas to two roles which are tricky for any actor in that neither character is particularly open with who they are, nor where they want to go. And yet their lives feel written all over their faces. It's one of the best ensemble performances of the SXSW festival.

Sender is not the easiest watch. An anxiety-driven nightmare, Goldman's film doesn't just examine surveillance habits and the cycle of supply and demand, but our relationship to these things and the comfortable embrace of addiction. This is where Julia Day (Severance's Britt Lower) lives, and to help us understand what it's like to be inside her head, Goldman and editor Marco Rosas cut with dizzying alacrity, snapping space and time like a folded belt.