In this deliberately stunted teasing of information, Mielants builds a muted drama that cleverly harnesses horror tropes to paint a picture of what happens within the convent’s walls.

This is a profile of unfathomable courage that deserves to be seen, in part to honor those who supported the film’s supply of footage and cannot be listed in the credits for fear of repercussion. It is a testament to not giving up and the strength of a people united—not just by a song, but by a deep belief in a just future.

Not only is Madame Web a mess of a movie it doesn’t even qualify as a “it’s so bad it’s good” moment of escapist entertainment. It suffers from a much worse fate: it’s utterly forgettable.

While Out of Darkness is by no means bad, it’s far from the iconic status Cumming presumably hoped to achieve.

Seeking Mavis Beacon is one of the most interesting and thoughtful docs you’ll likely see all year. It also feels a bit scattershot and unfocused at times. However, the experience of watching Jones and Ross grow and change as artists and people throughout the investigation is worth the price of admission alone.

Argylle proves hollow from the inside out.

For decades, cryonics were believed to be the key to immortality, with mind transfer pioneers such as Ray Kurzweil eventually leading the charge in a different direction, but as ChatGPT becomes as commonplace as a text message and the path to computer-based divinity continues to shorten at a shocking rate, films such as this become even more vital.

Sujo may not be a movie with which everyone will connect or find a wealth of relatable aspects, but the quality on display is enough to warrant a view.

Dìdi is the definition of a crowd pleaser. This is a movie that will fill your heart with joy, love, and nostalgia (even if you grew up before Paramore or the early days of Facebook). And for Sean Wang, it’s a film that proves he’s capable of crafting a beautiful, funny, and at times, heartbreaking drama.

While bereft of the lurid pleasures that have propelled Saltburn to its ubiquitous social media popularity, Brief History Of A Family is nevertheless a smart and engaging debut feature, and preferable since it has something of value to communicate to audiences.

It’s a compelling, lovely little journey about friends reconnecting and rediscovering each other in a portrait that’s tender, humorous, considerate, and more than deserving of your attention and care.

This is far more than just a film.

Content to tell just one story despite a far more interesting one just under the surface, Maing and Story’s honesty and remove from the filmmaking process has produced an unvarnished, raw document that offers up a slice of history: warts and all.

On the one hand, director Silje Evensmo Jacobsen should be commended for adhering to the verité sensibilities of the project, as “Wilderness” never comes across as curated or guided. Yet this does keep the doc from probing into the more interesting questions and considerations that sit just under the surface here, such as the fundamental “why” of all of this.

It turns out this endeavor is a manic mix of two different movies in one and the second barely redeems it enough to make you stick around for the end credits.

Ito’s presence propels the film; her passion, vulnerability, and resilient strength are the film’s most compelling components, as they should be, and it’s hoped that the closure she’s pursued finally found its way to her.

This is far from the sort of cinematic experience one revisits time and time again, and it’s clear that’s not the intention; one viewing is all it takes to leave a lasting impression, like the simple memory of a young girl dancing with her dad.

Porcelain War tries its best to turn attention toward a trio of artists as they attempt to find some equilibrium between the art they love and the battle at hand.

The devastatingly bleak story of Handling the Undead is a wrenching but beautiful exploration of grief and human connection in the face of something horrific.

Lacorazza Samudio has pulled off a splendid feature directorial debut. Inspired by events in her own life and a sparse 90 minutes, the screenplay is layered but tight. The emotional beats are purposeful and not forced. There is a nuance and authenticity to the entire endeavor that is genuinely refreshing.

The film captures the what of Kneecap but also the why, which makes all the difference.

El Moudir, at long last, demands a reckoning, that will uncover old wounds, but also provide closure.

Until the final shot, the Zellner Brothers leave unclear whether all of their oddball observations are building to a grand statement about humanity or a punchline. Sasquatch Sunset can accommodate readings of both.

Hammel has talent and something to say that’s worth paying attention to. There’s a spark of something there, eventually. It’s a little messy, but it’s definitely there. It also just might take a while before you want to hear it.

If Suncoast ultimately lacks major insights, it is hard to argue that it at least combats its slenderness with a poignant sense of empathy and compassion for draining emotional hardships.

Aesthetically detached, clinical, and with murderousness always happening in broad daylight, Veni Vidi Vici might arguably be more clever than laugh-out-loud funny or insightful. Still, some of the facetious formalism goes a long way.

The Outrun begins and ends with Ronan. There are very few moments in the movie where she isn’t on screen, and to say she’s up for the challenge is an understatement. It’s a very strong performance and, somewhat impressively, not as showy as you might expect given the material.

It’s a sublime little travelogue, deceptively simple, engaging, and thoughtful.