There should be more films like Fast Color. Movies that demonstrate that you don’t need a giant budget or decades of established IP to do superhero or sci-fi well on the big screen.

Unfortunately, the peripheral factors worth championing are not enough to save the film from being a routine slasher, with an unremarkable mystery at the center, that puts its prescient anti-bullying message first and genre second, making Thriller feel a bit like a chore.

You might not feel the need to attend church this Sunday after the credits roll, but don’t be surprised if you find yourself praying for your time back.

Wild Nights with Emily feels at once revelatory and a total delight, a surprise for both for literature geeks and those who didn’t do their required reading in school.

In the end, Hellboy is a juvenile delinquent you want to slap and a colossal mess that damages the brand, the character and probably breaks the heart of its more well-intentioned cinematic forbearers.

Little is a blast, but it’s a shame that it’s not a better movie.

The Best of Enemies has good intentions, and some potent things to say, but its novice direction and limited perspective fail it from becoming anything other than this season’s Green Book.

It’s the kind of movie you sit on, but then can’t wait to revisit. Suburban Birds is a rewarding and revelatory first feature from a fresh artistic voice.

Farrands proves he’s no Tobe Hooper, but he might not even be Tom Six. What he ultimately crafts is a terribly foolish movie featuring wooden acting, a disgusting premise, and none of the redeeming qualities that even the most repellant exploitation schlock film might offer. Stay away at all costs.

Amazing Grace is a showcase of one of America’s greatest talents and a rush of pure spiritual uplift. There are only so many ways to praise Franklin’s voice and they all fall short – just go and hear it for yourself.

The film is not meaningless, or even trifling, but, Stockholm never rises above mediocre, and that is what hurts the most.

Even though The Public ultimately doesn’t come together as a dramatic piece, particularly in the hammy climax, it does take some impressive chances. Just making a story about the invisible homeless is a brave move to start—audiences tend not to like stories about intractable issues, after all.

Missing Link is a fun, if uneventful and uninspired, trip, but at least it won’t annoy the parents who are along for its fast-paced ride.

There is an unassuming languidness to Ljubomir Stefanov and Tamara Kotevska’s anthropologic documentary about a rural Macedonian beekeeper, “Honeyland.” It’s a quiet and passive film that’s content to luxuriate in place and revel in solitude, which, in turn, both drags the narrative’s loose pacing and instills a certain natural structure that, once embraced, becomes almost mesmerizing.

A magnificent, tight exploration of romance and what it means to walk that path wearing blinders. Most people have done this at one point or another, and Silver’s triumph is that he’s crafted a film that puts his audience both inside of this, but also at a distance where it can be appreciated.

Phantom Cowboys is a stylish treat for viewers who enjoy meditative cinema. As an enrapturing stroll down the dusty backroad pathways and flame-covered grassland that comprise a country, the documentary manages to offer an invigorating perspective on the United States by exploring the day-to-day lives of the unseen.

Shazam! is carried aloft by an exuberant performance by Zachary Levi as the title character, all muscles and wide-eyed naïveté.

Beyond Dumbo’s cuteness (which was so overwhelming that I now want a baby elephant for a pet, which is surely not the point of the film) and Keaton’s perfectly over-the-top performance, there’s little to latch on to in this Disney film. It throws so much at the audience that nothing really sticks, leaving such a small impression for such a big movie.

The award-winning filmmaker is a one-woman crew on the project, and Klayman’s tenacious fly on the wall, verité approach illuminates the cynical limitations of Bannon’s cruel human worldview through day-to-day contradictions, far more than an interview-style documentary where such a figure is given a platform to talk in circles ever possibly could.

Above all, Tigerland pays respects to that awe-inspiring creature at its core.

Sober, unflinching and fits perfectly with the current political movements such as #MeToo and #TimesUp.

Cousins’ new doc will undoubtedly be essential viewing for a sea of cinephiles, but it might not easily capture the attention of audiences less familiar with Welles’ legacy.

As a simultaneous introduction and farewell, An Elephant Sitting Still might be one of the best movies that you will only watch once, but won’t ever completely leave your mind.

The Dirt is ultimately supposed to be an unapologetic tribute to living the fast life, but in the end, it’s just painfully dated and pointless with zero depth or insights.

It’s always dangerous to wonder about what a film might have been rather than contending with what it is, but in this case what it is, is so bland, and so stolidly workmanlike in execution that even the most dedicated viewer might find her attention sliding off DP Zac Nicholson‘s ration-book-colored images and wandering to the what-ifs.

It’s not a bad film, by any means, as there are definitely worse action movies to spend 90 minutes with. Yet, there are so many other, better, martial art films out there, with many including at least one actor from this film.

Villains is wacky off the walls fun and it constructs a solid sandbox for its actors to play in and deliver four colorfully captivating performances about the shades and degrees of human wickedness.

With a popular subject, and some downright corny visual devices, The Inventor doesn’t knock it out of the park as neatly as some of Gibney’s other works. Still, it’s a worthwhile and damn entertaining addition to the developing Elizabeth Holmes canon that makes up for its flaws with undeniable watchability.

While Lagoze’s film may not offer any genuinely new insights, it is an unsettling opportunity to bear witness to the numbing chaos of war.

For as impressive and smart as the film is throughout, the weightlessness to the drama keeps it just out of arm’s reach of films that masterfully examine loss like “The Changeling,” but the craft at least firmly plants it in the upper-tier of contemporary horror remakes.

It’s technically impressive and faulty in equal measure, expunging most of the substance in favor of occasionally effective, but mostly cheap, scares.

Oscillating between traditional documentary and experimental, subjective attempts to capture what it’s like to be impaired, Evans creates a moderately successful portrait of, what the film references as, the space between seeing and not.

"Well Groomed" is not revolutionary cinema by any means, but it certainly is enjoyable; and sometimes, an adorable documentary about competitive creative dog grooming is exactly what you need.

The story as a whole, doesn’t quite click.

Elba’s debut doesn’t belong to the upper echelon of films from well-known actors stepping behind the camera – it holds your attention, but it’s never as gripping as the material should be.

Though “Pink Wall” rarely breaks new ground in its focus on the evolution of a couple’s relationship, Cullen’s truly raw, intimate approach helps it feel fresher than it might have otherwise.

What keeps the film mostly on track is its proudly confrontational nature, quick-witted dialogue, and performances to match. But it’s a dark, sobering film too—the corruption, dishonesty and immoral law enforcement practices employed to screw over expendable brown and black people is depressingly distressing and it’s here where “The Day Shall Come” has trouble sealing the deal on its uncomfortable remit of awkward laughs and somber realities.

“Boyz in the Wood” is a jolt of irreverent fun that wants you to laugh at the stupid and depraved behavior of teenage boys but also to know that at the end of the day, the kids will be all right.

On paper, Five Feet Apart has all of the components to fit squarely into the sub-genre of films that have come before it. In execution, the teen romance never packs the emotional wallop it so obviously, self-satisfyingly, believes it does.

A halfway interesting story with a few too many ideas and a lack of tonal cohesion.

It’s easy to admire Green’s decision to tell a personal story that came from the heart, but the end result is, unfortunately, something a little flat, unremarkable and it’s only Ethan Hawke’s terrifically empathetic performance that makes this long and listless journey feel like it’s a road worth taking.

“Everybody’s Everything” is a loving tribute for fans as well as those unfamiliar. And for the latter, the doc truly creates a sense of humanity, awe, and undeniable raw talent that it makes it easy to why his music connected with so many people in such a quick amount time.

By keeping the humor rooted in the performances and only letting sentimentality creep in when necessary, Nelson and Schwartz have crafted a film that feels refreshing, unique, and emotional.

It is a little peculiar as to who the audience for “Good Boys” is exactly. It’s too vulgar for kids who are the age of the film’s characters, and while an adult audience will likely find much to admire and potentially even teach their kids, some of the film’s more sophomoric elements could get a little grating.

As it stands now, The Highwaymen arguably does just enough legwork to justify its existence, but good luck enduring it.

A radically inspired, hyper-fresh, and even slightly overcooked take on the high school teen comedy... “Booksmart” is something just shy of a sensational masterpiece and miracle.

While slight, yet accurate in his thesis, Stearns does what any good filmmaker should do to make that message stick: he makes us laugh.

Chandor crafts a film in that contemplated vein of consequences, with a moral consideration for everything at stake, including the very souls of these soldiers, No one comes out clean.

It’s a consistent laugh out loud comedy with a big heart that should please all kinds of audiences (and the rare rom-com aimed at both women and men and not just either or). “Long Shot” isn’t your typical Seth Rogen stoner comedy (not that those aren’t great) and is all the better for it.

The hedonism on display is very much of a piece with “Trash Humpers” and “Spring Breakers,” but in a surprising change of pace for Korine, the film is more at ease with itself, and more emotional than either of those two provocative efforts.

“Sword of Truth” is full of seemingly effortless charms and quirks, but Shelton keeps it from overloading into full-on twee. This is a small film in every way: one that sometimes lacks precision, but its casual feel really works within its world and among its characters.

As a sleekly-directed, crowd-pleasing horror film, it’s efficient, terrifyingly thrilling and a lot of fun. It’s the kind of movie that will be discussed and debated for decades to come, and perhaps thirty years from now, as things continue to descend into utter chaos, Us will be looked back in retrospect as prophetic. As it stands now, it’s fascinating, a little maddening, and entertaining.

The Wind still checks enough of the right boxes to please horror fans; it’s creepy, features some gruesome images, and has a couple standout scares. This film also has its share of flaws; it’s held back by some pacing issues and weak performances.

The Aftermath is simply another period melodrama that knows exactly what it is, and that just isn’t quite enough, especially when one considers the leading star’s career oeuvre.

In short, Babylon is bland and sadly, should be much better.

These characters are undoubtedly supposed to be parodies of themselves, but their collective unrepentant narcissism broods more resentment than laughter. By the end of the feature, it’s hard not to cringe every time somebody talks.

Moreso than any other movie in the back half of Marvel’s first decade, it’s tough to shake the feeling that Captain Marvel is an extended prologue to a story that is still off on the horizon. This character has the potential to be Marvel’s answer to Superman, with all the questions about power and ethics that implies, but her story is rushed here, and sometimes forced.

It merits being counted as one of the decade’s best and most wildly original animated triumphs and one of this awards season’s most unforgivable snubs.

An interesting, original concept combined with solid acting and creative directing propel “Stray” and keep its audience invested throughout its tidy 81-minute run-time.

This is a rousing, essential viewing experience that reminds us of exactly what humanity is capable of when we work together toward a single, world-changing goal.

The primary factor permitting Styx to warrant any sort of recognition is inarguably Susanne Wolff’s dynamically subtle performance.

An interesting if somewhat incomplete horror thriller with decent performances, “The Changeover” is nevertheless hampered by a script that doesn’t seem to know how to connect all its narrative dots.

While Dragon 3 suffers from the absence of a strong plot, poignant stakes, and narrative thrust, it’s still a story that most audiences will find something to connect with. It’s a fitting end for the Hiccup and Toothless’ story and How to Train Your Dragon 3 is mostly fantastical escapism that packs an emotional wallop.

The intimacy that Herbert attains with the kids and the respect that she affords them prevents the film from ever seeming exploitative of their lives and hardships and rather gives it a thorough sense of empathy.

Unfocused and unpolished, “Le Concours” might’ve been fared better if one of the prospective students picked up the camera instead.

The Plagiarists is a fantastic idea that is irredeemably marred by poor execution. There is a genuine sensation of effort on screen and a select few of the ideas the film touches upon are outright brilliant, but the product still falls remarkably flat.

Light of my Life is not a bad film, instead it’s a heartfelt, intelligent and earnest one (if a little tidy).

There are moments of joy and humor throughout, and the film insists on feeling those emotions, just as much as it does grief.

Combined with a narrative with a more defined ending, this darker tone suits Sang-soo’s minor-key ruminations, injecting more tension and pathos into his trademark conversations.

Alita lays out her empathetic groundwork early and rarely diverges from it. How wonderful to have a hero that always follows through with what she fights for. How wonderful to have a blockbuster that aspires for so much and mostly delivers on those ambitions.

It pokes fun at falling in love on screen, but it’s smart and sweet enough make us fall for it as well.

Melancholy in shape, but still hopeful, Crosby’s willingness to bare naked his personal struggles on-camera makes for a truly poignant movie.

Landon uses this winning sequel opportunity to not merely redo his refreshingly animated original film but challenge it— building upon its kooky, evergreen foundation and expand the story in scope, scale, genre, and tone.

Wang’s film is intimate, thought-provoking and well-crafted. It condemns the horrors of the policy without condemning those who were brainwashed into being its vessels, and it gives voice to so many families whose agency was stolen from them.

Brügger’s movie plays mostly like a real-time thriller, to be honest, but whatever hybrid of non-fiction you want to categorize Cold Case Hammarskjöld, it’s nothing short of groundbreaking.

Beyond Ocasio-Cortez and her magnetism, we may look back at Knock Down the House years from now as a nascent document of the beginnings of a groundswell in American politics.

Berlin gives a good enough picture of its host city, delving into its complicated history and giving glimpses of its beauty. But few of the segments connect us to its inhabitants and visitors in any meaningful way.

Offering very little in the way of enjoyment or anything other than clichéd horror tropes, The Prodigy isn’t offensively terrible and will unintentionally make for a few solid laughs, but it’s best not to let this forgettable vessel possess much of your time.

Lords Of Chaos is more interested in the spectacle than the substance behind the true story, and that kind of phoniness likely wouldn’t even get the film or Åkerlund invited into The Black Circle.

This strange, deliberately naïve film plunges a high-concept romance into a banal, lifeless world.

Luce is a dangerous minefield and simply crackles with the kind of distressing pressure that is beginning to define America in every conversation we have about race, marginalization, social strata, woke politics and even marriage.

Even as an homage The Hole in the Ground feels like business as usual rather imbuing the genre with a much-needed modern edge or new context.

As Vic chauffeurs, these individuals through a racially divided city—Mikhanovsky delivers a profound statement that celebrates the connective tissue of humanity with honesty, sensitivity and an endearing heart.

Flaws and all, Cold Pursuit is a gleefully violent good time. Moland’s movie is silly but sharp, with barbs drawing blood despite a story that we’ve seen before.

For every scene that doesn’t work there is another that’s spellbinding. It’s gutsy and provocative and, frankly, that’s a compliment you can’t give many independent films these days.

If the performances were as wooden as the plot, “Imaginary Order” would be unwatchable ... Instead, McLendon-Covey’s lead turn and some savvy supporting performances (most notably Kate Alberts as her daughter) keep things compelling for the film’s overstretched 100-minute run time.

A somewhat cool robot does not make a movie. ... The eventual twists aren’t that surprising and don’t really make sense in the context of even the film’s most basic world building.

A film that features a few fantastic comedic highlights unfortunately weighed down by a misfired performance from its lead actress. The result is an occasionally funny, inventive, but inconsequential, feature.

An uncommonly knotty and fiercely intelligent story of assault and blame in the social media age.

Ultimately, it’s hard to figure out exactly what movie Anvari was trying to make.

Survived pain arises as both a vehicle for growth and catalyst for the revaluation of one’s impetus in Joanna Hogg’s introspectively awe-inspiring stroke of virtuosity The Souvenir.

There is drama in the source material for sure, but maybe a little more style could have helped elevate this moment in history for the masses.

Paddleton is so busy not doing much, it blindsides you with its honestly-earned emotions.

Though Monos feels very contemporary aesthetically, its subjects are timeless: the malleability of group dynamics and how subtle changes can lead to either violence or harmony. It’s a philosophical film with very few words, examining its ideas through powerful images and feelings.

A thrilling, subjective, portrait of one family’s attempts to navigate the corrupt economy of emergency health care while, also, providing much-needed services for a city desperately in need of EMTs.

Light from Light is a quiet and modest film with big subjects on its mind and it will reward those viewers with the patience to listen to the faint wavelengths at the end of the dial.

The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist.

The film team is so strong and the direction so fine that it’s simply hard to believe this is actually Talbot’s first full-length feature film. And to detail much more would spoil the genuine surprise of their many on-screen artistic contributions.