Silent Land is a critique of class structures, but never manages to reach the depth of the pool that haunts the characters of the film.

Night Shift is a cozy horror flick, one that feels familiar, but it also works as a show of skill for first-time directors, the China Brothers. 

Even though it might not fully come together for all, it’s undeniable that it’s thrilling to see I Saw the TV Glow’s trans-centric storyline on movie theater screens across the country. 

Kingdom of the Planet of the Apes is a behemoth blockbuster that’s perfect for summertime, even if it succumbs to some of the familiar shortcomings of the genre.

The events of The Idea of You may sound like they've been plucked from a One Direction fanfiction, but Hathaway does her best to keep the film's feet on the ground.

Tarot is a solid-enough introduction for new horror fans, and it just might not be scary enough for those well-versed in the world of all things spooky.

The Fall Guy is not the answer to summer blockbusters that we’ve all been waiting for, but it could have been. A slight reworking of the script to slim it down to a cool 100 minutes would have made The Fall Guy a clear homerun. At the end of the day, though, it’s hard to complain about watching Ryan Gosling wear a cool jacket, kick some ass, and save the day.

Coma isn’t a feel-good movie in the traditional sense, but there is an overwhelming belief that things could be better if we’d try.

Tennis is the perfect medium for a story like Challengers, one that’s about the messy way people are entangled with one another. Challengers double faults because it takes its focus away from the humanness of it all.

The Brink Of is a sweet, small-scale story about how difficult it is to pursue a creative career and how lovely it is to go down that path with someone you care deeply for.

There’s no other film in recent memory (or maybe ever) that’s structured quite like The Tuba Thieves. It breaks all the expected norms of documentary work and creates a bold listening experience that invites the audience to become an active participant in the film itself.

This film is a terrible way to spend ninety minutes in the sense that, by choosing to watch the movie, you’re signing up for an hour-and-a-half of a relentless anxiety attack. An anxiety attack that is expertly shot, paced, and edited, but an anxiety attack nonetheless.

Despite relying on the far-too-familiar beats of a biopic, Irena’s Vow tells the gripping story of a woman who made small, brave decisions in order to do what she believed was right.

Good Bad Things is a warm hug of a movie, the kind you’d seek out when you’re home sick from school.

Sexual Healing is a celebration of the humanity that connects us and our deep-seated desire to be wanted in the purest sense of the word.

More wholly original works need to make their way into theaters to give people the ineffable feeling of seeing magic on the biggest, loudest screen possible. Monkey Man will not be forgotten.

Club Zero is an interesting exercise in restraint, both in the eating habits it encourages for its characters and in its production. However, the world that the film built is far too intriguing to leave on the cutting room floor.