Lee Isaac Chung’s Sundance winner is a well-intentioned and sweet family drama that can’t help but feel incomplete.
Ninja Thyberg’s tale of a woman’s attempt to make it in the adult film industry is a feature debut that doesn’t pull any punches.
Kourosh Ahari’s psychological thriller mines anxieties of Iranian-Americans living in the States for bone-chilling effect.
Theo Anthony’s new documentary threads together film theory, politics, and philosophy to great success.
Sean Ellis’ werewolf period piece is a humorless medley of conflicting approaches that somehow ends up dull.
Ben Wheatley’s pandemic-shot sci-fi effort is a derivative and predictable trip through the fog despite a few choice moments.
Pascual Sisto’s debut feature is a surprisingly toothless psychological thriller with very little on its mind.
The new film from Dash Shaw and Jane Samborski uses its breadth of bold psychedelic inspirations to distract from a tepid script.
Steven Soderbergh goes further back to his indie roots with a boatful of talent, loose style, and delightful improv.
Adam Mason’s near-future COVID tale is an unnecessary idea made worse by a rushed script and cheap production values.
John Patrick Shanley returns with a miscast, disingenuous tale of Irish star-crossed lovers.
Tara Miele’s new film is a mismatched metaphysical love story that shows potential for the writer/director but doesn’t land.
Despite Drew Barrymore’s efforts, But I’m a Cheerleader director Jamie Babbit delivers an out-of-touch showbiz satire.
Co-written by Al Franken, this romantic drama pits Meg Ryan and Andy García against alcoholism—and a bad script.
David Fincher’s first feature may have angered people at the time, but it continues to prove equally daring as a sequel and a debut.
John Patrick Shanley’s Catholic Church-set drama is mildly effective and well-acted but too tidy for its subject matter.
Alex Winter’s look at the multi-hyphenate is an expansive two hours bolstered by its unseen footage and stellar editing.
Jennifer Leitzes’ only feature is an uneven genre piece with a good few moments, some thanks in part to Philip Seymour Hoffman.