There’s also a thin line between romance and friendship, and People We Meet on Vacation revels in the magic that happens when we step across that line. It’s exactly what the doctor ordered for a cold, rainy day.

Primate is quick, dirty, and lean, a throwback, no-frills survivalist thriller that revels in its bloody monkey business.

Anaconda could have been included in that conversation, but instead it’s too much like a big studio poking fun at itself while doing the exact thing it attempts to make light of.

Belén is a fight for truth to be seen, heard, and, most of all, respected. Anyone can tell the truth, but those who control the scales of justice have to uphold it, even if it doesn’t align with their own assumptions.

There are some warm moments about how food and language can immediately anchor us to a place we miss, how people can fall in love even when they thought those feelings were behind them, and how we may not understand our loved one but we can still support them. Unfortunately, The Mother and the Bear ends with what is still a fundamentally massive gap between mother and daughter.

There’s a way for a wordy, single-location film to use the freedoms of the film medium, look no further than Peter Hujar’s Day, but Blue Moon doesn’t capture the same sense of snapshot of a time and place in a person’s life.

Night in West Texas is a condemning piece of filmmaking, but one whose central voice should have been shifted.

Tapawingo will speak to a generation that misses the oddball sincerity of the aughts and potentially win over some Napoleon Dynamite non-believers with its more fleshed-out narrative.

Melling and Skarsgård make for a phenomenal pair that wholly sells the goal of Pillion, one that recognizes the many paths that can lead a person to emotional growth.

The Plague is a cautionary tale of adolescence that’s searingly difficult to watch. It’s a masterful introduction to a new filmmaking voice.

Song Sung Blue knows how to carry a tune, but isn’t quite sure how to write its own melody.

Marty Supreme was never about a guy who dreamed too big for what was possible. It’s a series of loosely-tied-together hijinks that cater to fans of shock-value cinema.

Sirāt is surely a journey of profound proportions, but one that may leave audiences searching for meaning that isn’t found along this path.

Sentimental Value doesn’t heal the wounds of the past, but it does offer an opportunity for reconciliation, as long as those involved are brave enough to recognize the cracks in their own home.

Passionate, emotional, and transformative, El Canto de las Manos redefines art’s ability to communicate.

Sorry, Baby is a gargantuan piece of filmmaking that tricks you into thinking it’s small. What Victor has captured here, in the way trauma freezes you and the unexpected bits of life that thaw you out again, is purely remarkable.

Reichardt’s gently moving, observational camera makes The Mastermind a heist in its own right. It’s a film that uses an as-described-by-J.B. “victimless crime” to demonstrate that the repercussions of an individual’s actions will always be absorbed by the larger community.

It’s terrifying to be sixteen years old, falling into a crush you can’t begin to put into words, and Little Trouble Girls exquisitely captures that stomach-dropping, butterfly-inducing feeling.

Dead Man’s Wire walks a tightrope of tension that is a direct line to our current disillusionment with the world around us.

Zootopia 2 is about compassion giving way to bravery and the pursuit of the truth.