It’s a film that’s endured more than enjoyed, even with Du Welz’s oily black sense of humor and his skill for skipping between genres.

There’s no denying that Fennell is playing with dynamite here, and knows it; the brashness of her approach and style is welcome, and her work is often riotously funny (especially when edging into darker territory).

As the focused film delicately yet decisively establishes, a job is still just a job and can take more from you than you may realize going into it, leaving you to one day look around to discover there is no ground beneath your feet.

Love, Simon is filled with details and specificity, making Simon’s story feel real and authentic in each moment, from the music he listens to to the costumes seen at a Halloween party, elevating it above what could have been the after school special version of the same story.

Potash marks time by the year until the last 30 minutes of the film, when the clock intertitles speed up with the many advancements in her situation, building to a breathless finish that will leave the viewer emotionally crushed and yet also hopeful and joyous.

For fans of Ashby, or even just lovers of good cinema, Hal serves as a wonderful examination of a masterful director who had a lasting influence on generations of cinephiles. Had Scott dug a bit deeper, though, she might have stumbled across something as profound as the filmmaker she supposes to glorify.

M3GAN locates the horror and hilarity lurking barely beneath the surface of our screen-addled society.

The movie does not stint on Belushi’s destructive, self-sabotaging, and cruel habits.

It’s simultaneously incredibly pleasurable and quite disturbing, owing to its chilling elements and commentary on larger issues.

Even when it’s in the shadow of other movies that have traversed this territory to greater effect, the talented young performers at hand bring a rooted sense of reality that still makes it sing with rhapsodic gravitas.

Bong succinctly riffs on old Hollywood to maintain his legacy of class-conscious films that challenge the status quo appealingly and refreshingly.

Inventive and original ... Juggling dark, situational comedy with genuine thrills is awkward, but “Blow the Man Down” manages to walk that tone well.

As an austere and darkly comic family drama, and a scathing commentary about the kind of world our children are living in, Happy End is stunning cinema

For the most part, Kahn’s latest effort is a tenderly observed portrait of the transformative power of religion, even if it occasionally fails to convince.

In the overstuffed indie coming-of-age subgenre, Sophie Jones makes an unassuming, honest contribution. Which is exactly what it needed to do to stand out among the endless pomp and quirk.

The cinematic equivalent of a bath bomb, this fizzy feature is sure to delight — at least until the charm fades. So unfurl your towel, dust off your bathing suit, and soak up that warmth.

Bone Tomahawk is a proper Western, a proper horror movie, and by combining the two, becomes something else entirely, and proves hugely enjoyable for it.

Saleh’s film works on many different levels because it’s a layered blend of various elements from different genres. He has crafted a spy thriller that succeeds as a coming-of-age narrative and can also be an entertaining film that keeps you captivated up until the final breathtaking moments.

Laura Poitras has done it again. Much like the celebrated Edward Snowden documentary Citizenfour, “Risk” is instilled with a sense of immediate urgency as an apprehensive cloud hovers over every action, every word, every wayward glance.

The focus is spread too thinly on the various colorful local voices, all of whom openly campaign against Recchia’s intentions with zest and flavor.

Although AM I OK? follows a well-worn formula, it finds transcendence in Johnson and Mizuno’s authentic, intertwined performances and Pomerantz’s deeply personal, heartwarming screenplay.

Serves as little more than an exercise in striking photography mixed with a series of vignettes that’s as slice of life as one’s likely to find.

While 7 Days occasionally goes too broad in juxtaposing Ravi and Rita, sometimes pitting them as ideological binaries instead of fully realized characters capable of vacillating in ideas, the film more often than not allows them to develop and shift as they get to know each other.

All thanks to Herzog’s keen eye at having a continuous fluid flow to the story and his subject’s willingness to lay bare in front of an audience, this is one of the most important documentaries of the year because it still feels fresh and relevant to our times.

Nine Days is the sort of original cinematic art that, these days, is few and far between.

There is beauty here, and exquisite craft in both the pictures and the minutely designed soundscape, and there are some truly chewy ideas thrown up about the porosity of the boundary between public and private that would have lent terrific, atmospheric texture to a film... But there is little connection to the characters.

This is often an insightful film, but it’s full of delights for journalism, history, and political junkies alike. It doesn’t fully answer the challenging problem of where the line between the two needs to be, but at least it’s asking the right question.

Infinity Pool is the kind of film that reminds you that sometimes, the best thing a filmmaker can do is take you to places you would never dream of heading without apologizing for any of it.