Imaginary may not reinvent horror, but it knows how to conjure up a good time.

It takes a farcical premise and tries to find something meaningful to say about it. It doesn’t succeed, but the effort is worth analyzing.

You’re grateful for the time spent with a genuine epic of ideas and rueful that such heady themes weren’t more fully explored in a better film.

Smart, entrancing, and filed firmly under interesting, Spaceman is a conversation-starting meditation on the human condition made as a piece of art for audiences to experience rather than being a film made with an audience in mind.

For those already invested in the “Dune” franchise, “Dune: Part Two” is a sweeping and engaging continuation that will make you eager for a third installment. And if you were a fence-sitter on the first, this should also hold your attention with a taut, well-done script and engaging characters with whom you’ll want to spend nearly three hours.

Viewed under the right conditions — that is to say, late at night, in a certain headspace and surrounded by an audience of fellow travelers ready to take the ride – “Cuckoo” will offer an awful lot of big-screen fun. Only those external factors are nearly necessary to meet an overeager film with only one note to play.

Small Things Like Things is a modest gem.

It’s an interesting enough premise, even if you divorce the film from its comic book origins, but bland direction and awkward dialogue overtake the film and add a sheen of mediocrity to the entire thing.

The silly and sexy horror comedy brings an edgy twist to the adored subgenre and, through its reverence for the beloved decade’s penchant for gothic charm, makes for a ridiculously brilliant spin on a timeless story over 200 years old.

Argylle is fun in spurts with a strong cast of characters that help you get through the overly exaggerated runtime. But the script boxes itself into a corner too often and falls into repetition.

Begert’s aim is to shake Hollywood up. Yet his two movies-in-one proves that some old rules persist for a reason. As good as Schwimmer is as Martin, that story sinks under the weight of the one Fike and Ryder tell.

It takes a group that bumped up against the boundaries and instead just operates within them.

It’s not an easy story to stomach, but in this staggering documentary playing in competition at Sundance, the journalist-turned-filmmaker crafts a stunning, effective tale of reclaiming victimhood and the fight for justice.

“Super/Man” is emotional, resilient, and inspiring, opening up private battles to the general public.

Sasquatch Sunset is sometimes hilarious, often unique, and otherwise forgettable.

Where Suncoast stumbles is when it sacrifices specificity for generic sentiment.

Ree’s magnificent documentary takes its audience not only through the tragic elements of Mats’ life—the diagnosis of his illness, his decline, his untimely death—but the good parts, too, through effective testimony and powerful archival images, audio and video.

The film is defiantly unconventional even if it does provide enough of the usual beats to give its audience a solid footing.

Veni Vidi Vici is like a piercing scream into the void, daring you to truly process what it’s telling you for fear you might fall victim to its apathy next.

It’s a bit muddled in execution, but despite its faults, the film is visually ambitious with things to say hidden under the surface.

It not only introduces another side of this democratic activity, but does so at the perfect time to highlight its inconsistencies and inequalities, giving these girls the extra opportunity for reflection and growth.

A Different Man is a fascinating exploration of humanity with Sebastian Stan and Adam Pearson being a team I want to see reunite in other works. The climax is a tad underwhelming but overall it’s a rollicking ride worth experiencing.

Unabashedly silly, yet effectively sincere, it is a film that grows on you.

Between the Temples is not solely about organized and labeled relationships and religion, but the humility behind that faith and the ways in which it is intricately shared, like birds of a feather flocking together.

Park creates a genuine tenderness that Stella beautifully captures, but the narrative itself paints a habitual tale of retrospect and the enlightenment of being in the present.

Though the film only provides a snapshot of a moment in time, Culkin’s performance is so spectacular that it makes it feel as though we have known Benji forever.

This journey is more than just worthwhile. It’s powerful and it’s a joy.

Glass is always aware of what might disgust her audience and make them squirm, a delightful and intriguing addition to this psychological thriller that is anything but subtle. It’s an impressive directorial achievement that compliments the work of Glass’s equally stirring cast.