Sticky’s unwillingness to commit to either the absurdity of a dark comedy or the grit of a serious thriller is its downfall.

At its core, How to Divorce During the War is about how long one can hold onto their moral principles and empathy when personal comfort is at stake.

Bad Apples is a masterful pitch-black satirical thriller.

The Cycle refuses to lean into the same old, same old monster-movie tropes and builds the entire premise around the intellect and the history of a capable, smart female protagonist.

Despite it being one of the most visually impressive action movies I’ve ever seen, everything else fell short of my expectations.

Peppered with whimsical humor, heartbreaking realizations, and heartwarming discoveries, The Incomer is surprisingly endearing through and through.

Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.

A deer caught in the headlights is the perfect metaphor for Animals.

Amid the ongoing debate surrounding Christa Pike’s death sentence, watching East of Eden, which shows that women can be monstrous too, is definitely refreshing.

Most movies give you their point upfront, while others make you think it’s about a specific topic, then reveal that the story is about something else. Pink Lady belongs somewhere in the middle of those two categories.

Although Tuner is technically a heist movie, music and sound are woven into almost every aspect of Niki’s story. That’s what made Tuner such a pleasant surprise. I expected a film about music and discovered a heist movie, only to find that music was still at the heart of it.

The Brazilian filmmaker Alexandre Alonso’s Hunter is a film with a lot of ideas, but with very little holding those ideas together.