Jeff Wadlow’s adaptation of the late-’70s TV show is a thrill-free getaway that only entertains when it goes from generic to incoherent.
Nat Faxon & Jim Rash’s remake of Ruben Östlund’s 2014 dramedy is a dragged-out rehash that oversimplifies its point—and then loses it.
Jeff Orlowski’s documentary about the effects and ethics of social media lacks enough emotional depth or practical solutions to work.
Anabel Rodríguez Ríos’s documentary about tension in the small village of Congo Mirador is both singular and specific.
Edson Oda’s debut feature about a group of souls looking to be born into the real world is a great premise with pretty good execution.
Lance Oppenheim’s documentary about the largest retirement village in America blends droll humor with small, salient touches.
Emerald Fennell’s feature debut may be flawed, but it’s an empathetic portrayal of rage, anguish, and black comedy.
Cedric Cheung-Lau’s super slow burn overdoes itself at points, but it finds its beauty—and then finds it again.
Brandon Cronenberg’s second feature is a po-faced collection of genre tropes that wastes its cast and a modest sense of style.
Eugene Kotlyarenko’s satire about a rideshare driver who murders for online fame lacks the bite or nuance its premise deserves.
Eliza Hittman’s tender tale of a teenage girl seeking an abortion is about far more than its description would suggest.
Janicza Bravo’s retelling of the 2015 viral Twitter thread boasts great performances and surprisingly solid filmmaking, even if it ends on a shrug.
Pablo Larraín’s neon-caked tale of a tattered family is ambitious if uneven eye candy that’s bound to get audiences talking.
A solid first half and great work from Andrea Riseborough aren’t quite enough to make up for Zeina Durra’s Egyptian indie.
Benjamin Ree documents the budding, murky friendship between a painter and the man who stole her painting.
Sandwiched between a rough start and too tidy of an ending, Carlos López Estrada’s latest finds love in its large ensemble.
Beniamino Barrese’s new doc is an intriguing dichotomy that lacks enough self-awareness and comprehension of its themes.
The third entry in the irreverent buddy-cop series looks at old versus new without coming to any real conclusion or purpose.