Springsteen: Deliver Me from Nowhere allows fans to begin to see Bruce for who he is, but not as openly as longtime listeners may want.

There’s a pitch-black, bubble gum silliness to Self-Help, demented in its blend of B-movie fun and character-focused drama. A little Halloweentime gem that’s as sweet as it is nasty.

All the Devils Are Here has the bones of a taut little bottle thriller, but it’s missing the flesh and blood needed to make this the rumination on morality in an amoral profession that it wants to be.

It’s fun to escape to a silly place of big romantic speeches, kisses in the rain, and quickly forgotten dead loved ones, and that’s the world Regretting You firmly lives in.

Shelby Oaks manages to successfully straddle the line of elevated horror with a shot of adrenaline to the familiar horror tropes.

If director Stuart Ortiz approaches any subsequent sequel with the same fervor and attention to detail as he did in Strange Harvest, Mr. Shiny could enter the slasher hall of fame.

Without her insight, without understanding the character of Maggie, After the Hunt gets lost in the noise of everything around her and doesn’t find its way back to something more grounding.

The Wilderness is an exercise in compassion in the face of harsh conditions, and what happens when kindness is missing.

The Currents section of the New York Film Festival is a section of the programming reserved for films that are pushing the boundary of the artform. Dennis Lim, NYFF Director of Programming, says that “the most vital work in any art form is often to be found among its most daring risk-takers.” Those boundary-pushing works are in the Currents section, and below are two short film selections from the program.

Hair, Paper, Water… is remarkable in a simple way. In the way that we all find purpose and pain throughout life, but discover something to believe in every morning.

The Bad Guys 2 is a heist flick for the entire family, one that proves that the Bad Guys are actually pretty good.

A House of Dynamite an uncritical view of the state of global affairs that doesn’t go much deeper than “no nukes.” Bigelow crafted a powder keg of modern anxieties, but forgot to light the fuse.

Rats! is a riot that crawled out of the depths of Warped Tour to arrive on the doorstep of the 2020s in the best possible way.

Affection looks at the pain nostalgia like this can inflict on the present day and at how chasing the past will never bode well for the future.

Stripped for Parts takes the spirit of the investigative written word and turns it into a motion picture worth more than a few thousand words.

I Only Rest in the Storm is an epic deconstruction of the effects of neocolonialism as they are today on the global scale.

A perfect way to start your October horror season, Good Boy will remind you that man’s best friend is the most loyal friend we have, but you didn’t need that reminder, did you?

Shell is a lot tamer than The Substance, but certainly has its own share of blood, guts, and gore to offer those who want to embrace its campiness.

Eleanor the Great is a film about connection, but one whose wires get a little too crossed.

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.