CAMP, like the summer sleepaway activity the film is named after, is a means of connection, both among the characters in the film and between Fast and the viewer. Trauma is not healed in silence, but in moonlight dances, incantations, and laughter shared with friends.

Dolly amps up the guts and gore of yesteryear to make a throwback isolationist horror sure to delight the bloodthirsty.

While The Curse is a little too silly to reach the peak of the Japanese horror of the aughts, there’s still something to love here. By the end of the film, there’s not a sliver of the screen untouched by blood.

With strong, funny performances by genre favorites like Sean Gunn and Jermaine Fowler, APPOFENIACS comes from a place of loving Tarantino, but with a new, fun dimensionality.

Bad Haircut is a John Hughes movie that’s been hacked away at by James Wan, and the result is the sort of haircut people can’t stop asking you about.

With the heart of Cellars translated through the weirdness of Waters, The Cramps: A Period Piece is a cult classic in the making.

Silver Screamers is endearingly heartfelt in its pursuit of making something frightening, a mirror of sorts to life itself.

The Long Walk is no walk in the park. It’s a brutal exercise of putting one foot in front of the other in the pursuit of an unknown finish line.

Sunfish (& Other Stories on Green Lake) is a love letter to a place and a season, and how they affect us all in different, beautiful ways.

Bang Bang is not about the moments in the ring, but the tougher moments that come after. When the spotlight’s off and the blood has dried, what kind of person will you be?

Led by Thompson’s truly magnetic performance, Hedda provides an inspired, updated, and freshly twisted take on the classic play. 

Code 3’s mix of tones creates a funny, touching film that speaks to the unsung heroes of the healthcare world: the EMTs.

The Testament of Ann Lee is a frantic piece of passion that etches Ann’s name in the history books. 

Swinging between a touch too dramatic and utterly visceral, The Cut lands its fair share of punches.

Stranger Eyes asks for the viewer’s attention and perception, skews it, and then asks viewers to find the fine line between surveillance for the sake of safety and for the thrill of voyeurism.

Somnium is an unsettling look at the facade of Los Angeles and the way it can be molded to make or break a person’s spirit.

The Fantastic Golem Affairs is about connection in the purest sense. It asks us to view each other as our weirdest and most vulnerable selves to see if there’s still worth within us.

Toxic Avenger gives you the splattering brain matter, flying blood, and oozy, toxic heart on its sleeve. When you boil it all down, The Toxic Avenger (2023) is a movie about a dad trying to show his kid how much he loves him and taking down the corrupt American healthcare system along the way. Isn’t that what superhero movies should be all about?

Maybe that’s where the title of What We Hide comes from. We often hide our love when people hurt us or we hide our pain when we love someone. Neither is sustainable. Something has to break.

In Transit captures the loneliness of creation as it mixes with the hope that an act means more than it does.