Adi Robertson

The film leans hard into dark comedy rather than outright horror, which saves it from seeming like technophobic scaremongering or a “kids these days” moral panic. If you’re the kind of person who can laugh at slapstick murder vignettes, a lot of Spree works very well.

The best part of Shirley is Elisabeth Moss as a sharp-tongued and gloriously frumpy agent of chaos.

Many documentaries become less interesting the more you already know about the subject. But Feels Good Man presents a heavily covered story in a thoughtful and vivid way. Even its standard talking-head segments are peppered with compelling absurdities.

While the film doesn’t disguise its origin as a Twitter thread, it generally doesn’t treat it as a gimmick, either — because in 2020, the internet is just where people share the weirdest, funniest, and most frightening moments of their lives.

Tesla has oddball panache and is probably more compelling than a conventional period piece would be.

It’s just determined to deliver as many answers and as much plot momentum as possible, even when slowing down or holding back would give its revelations far more weight.

It’s bizarre and often delightful. Paradise Hills captures a futuristic fantasy aesthetic that feels familiar in video games, but fresh in movies.

The film spends more time dramatizing the scandal’s worst-case scenario than examining the facts — producing compelling personal narratives at the cost of valuable context and perspective.

Jawline is a nuanced exploration of digital celebrity and the gap between “real” and online lives, issues that are particularly relevant during a mass reevaluation of social media. But it’s also a timeless, bittersweet film about a teenager with ambitious dreams and few opportunities to realize them.

See You Yesterday is a compelling blend of nuanced drama, teenage adventure-comedy, and thought experiment. Its protagonists make a great duo, alternating between sophisticated genre-savvy observations and adolescent vulnerability.