United States
Bad Things struggles with its interactions, yet excels in its horror.
From anger to frustration to tears, Take Care of Maya delivers a deeply affecting look at the breakdown of a family when another says its broken.
The spell Playland casts over its subject matter, an act of poetic reanimation, carries over to its viewers.
This is Not Financial Advice achieves its overall goal, without explicitly telling audiences the right or wrong way to embark on the financial market.
Against All Enemies is surprising in the emotions its garners from its audience, always resolute to is overall message, but unafraid to listen.
The Black Demon is so bad that it actually ends up being great.
Padre Pio leans into its politics and historical fealty; the spiritual aspects are heady, abstract, and dense.
Unidentified Objects is a fantastic love letter to road films.
Grounded by the incredible performance of Sissy Spacek and the masterful direction of De Palma, Carrie is a horror masterpiece that defies convention.
Being Mary Tyler Moore not only is it full of personal remembrances, but it also her career that was so intimately intertwined with the rise of television.
Dazzling and wondrous, The Little Mermaid makes a solid transition to become a part of Disney’s live-action world of remakes.
Despite well choreographed action and a gritty performance from Jennifer Lopez, The Mother is not the Mother’s Day vehicle Netflix had hoped it would be.
With a fast-paced sense of humor, old-styled and eye-catching animation, and a stellar soundtrack, Cats Don’t Dance should have been a hit.
Beyond the North Woods offers hope for local, micro budget filmmaking to reinvigorate even the most familiar of premises, turning content back into art.