In order to enjoy Mustache, you just have to be willing to go back to the awkward teenage years of finding yourself — the often uncomfortable, sometimes profound, and always shifting time when the tickle of a prepubescent mustache can change the world.

What Sheep in the Box needs is Kore-eda’s trademark humanistic touch, and it’s a shame it’s missing.

If nothing else, Her Private Hell gives the gift of big screens still taking a chance on something weird.

The Calling Witch is a slow burn that doesn’t rush or worry about hitting a quota of scares. It’s more interested in plumbing what it means to be a family.

Christopher Nolan’s The Odyssey is an undeniable feat of filmmaking, but one that struggles to make sense of its mortal purpose.

“One should always be in love. That is the reason one should never marry.” The Invite probes the 21st-century idea of marriage, love, sex, and everything in between.

Tender is about getting what you want and still being forced to wonder, is this enough?

The premise is simple, the journey winding, and the jokes pile up by the minute. Gail Daughtry and the Celebrity Sex Pass is silly, good fun, something we need a lot more of.

The Last Day is hazy and heavy, like the weight of our life’s choices as they come to a frightening flashpoint.

Much like Wicker Man, The Boy with the Light-Blue Eyes shows the convergence of tradition, isolation, and violence.

Kara is a different type of hero. One who’s rough around the edges, but whose heart has the same goal. To be good. To help those in need. Supergirl will make you a summer blockbuster believer again.

The Last Guest of the Holloway Motel is a thoughtfully intimate documentary about life’s ebbs and flows, and the metaphorical boat we build to weather these highs and lows.

Sender is a paranoid horror for the modern era, one that blends dark humor and genuine eeriness to create an anxiety-twinged package of our times.

If Voicemails for Isabelle marks the beginning of a rom com renaissance, we are surely in good hands.

Like the Beanie Babies and Cabbage Patch Kids documentaries, Spin Wars is about an industry that makes little sense from the outside, but for those who found spiritual awakening in a sweaty spin studio, it was everything.

There are plenty of things to be wary about and afraid of in the world, but Leviticus isn’t one of them.

School for Defectors is an act of love for the kids who finally have the opportunity to fall in love with life and their parents who risked death for a chance at a brighter future. Perhaps it’s best to let one of the students sum up the film: “Love has a way of turning fear into courage.”

The Second Life of Freddie Nole is much like the man himself. No frills, empathetic, and light-hearted. A verité look at one man’s mission to use his newfound freedom to encourage others to use their lives for similar pursuits.

baby/girls is profoundly vulnerable. It’s an act of bravery to share such deeply personal moments with the rest of the world in the hope of capturing their reality to ask for change.

Hell’s Army is difficult to watch, but it needs to be recognized and amplified.

The Siege of Paradise may only focus on Cinque Terre, but this is happening all over the world. The documentary is not only a carefully constructed critique of what it means to be a tourist, but also a deeply compelling character study of humans in the summertime.

It’s exciting that a film based on an internet story could make it to the big screen helmed by a teenager, but Backrooms needed to plot its path in a more honed-in fashion.

The Saviors is a Twilight Zone episode for the age of paranoid xenophobia we live in today and maybe, unfortunately, always have.

4000 Days is a vital piece of filmmaking that highlights resilience in the time of a profound loss that no one should ever experience.

Death Boom has an empathetic and sometimes gently comedic look at death, which is perhaps how all of us should start thinking about the end of the road.

There’s style here to Scherson’s vision, and the collection of characters milling about the hotel is an interesting group, but Summer War’s weak spot keeps the film more muted than it should be.