Weapons proves Cregger’s deft directing abilities, but begs the question – couldn’t there be a better reason for some kids to run away in the middle of the night?

Boys Go to Jupiter is a slacker movie for hustlers. For the people who have fallen asleep at work while chasing an impossible dream, only to realize that the real dream is the reality that’s going on all around them.

Jonah becomes unrecognizable by the end of Transplant, and that’s why the film exists. To show the insidious way perfection, obsession, and an inflated, Godlike sense of self can grow within someone without them ever realizing it.

Bunnylovr delves into the messy parts of the  self-conscious early twenties that most people want to forget and asks us to look again.

Softshell is unflinchingly open in its exploration of the ways people exist in the world as we know it today. This film is personal and intimate, and it gets under your skin.

Dance is a visual medium, expressing what words cannot, and Match in a Haystack puts the camera in the middle of it all to capture this fight to exist. 

To Kill a Wolf is utterly commanding in its deconstruction of trust and creates a deeply evocative conversation about what redemption looks like.

The Naked Gun is your summertime escape, a chance to laugh with strangers in a darkened room.

At the end of the day, KPop Demon Hunters is a brilliant creation of a Technicolor, pop star world where music and the belief in oneself have the power to change things. Hopefully, our world will soon become a little more like the one that exists here.

Terrestrial is as mind-bending as it is grounded, a testament to the insanity that comes from chasing your dreams.

Hellcat is fierce until it isn’t. Its teeth are sharp until they retract at the very last minute. It’s a hell of a ride, but one whose destination leaves something to be desired.

It seems as though Chapter One is full steam ahead and Superman will certainly be a part of it. Let’s hope he gets a little Kansas back in his soul.

To those in ARMY, FOREVER WE ARE YOUNG is a love letter to a fandom of immeasurable scale. To those on the outside, it’s an introduction to a world they may know more about than they realize.

Last Swim may wade out a little too far at points, but it’s the grounding nature of the young performances that  makes it a day to remember.

While not a reinvention of the genre, House of Eden demonstrates a command of the form by someone who knows it intimately. 

In all aspects, there’s a punk rock feeling to Underground Orange. From its avant garde presentation to its ragtag group of people living on the fringes, the film is angry about the world it's living in.

Magnetosphere is for the weirdo in all of us who believes in the beauty the world has to offer. You might just have to look for it in a place you didn’t expect.

Like the famous line from Casablanca, Oh, Hi! will always have its bizarro farmhouse in upstate New York, even if its love story won’t go down in the history books like Bogart and Bergman’s.

Reality, though, as Drowning Dry argues, isn’t what’s most important. What matters is our memory and our perception of our life events. 

Nuked is a stoner flick that’s lighter on the laughs and heavy on the weed, with an unexpected heart beneath the haze.