Alex Papaioannou

Without a shred of embarrassment or irony in sight, The Napa Boys is a film made by people who believe in their sense of humor and hope to share it with audiences in a crowded room to laugh together.

Influencers loosely explores its ideas through a slew of new approaches, which don’t always pay off. This sequel does feel like a much bigger film, both in terms of scope and presentation. But while sustaining the tone and style of the original, these expansions of ideas work to varying degrees. Yet the hiccups present in such thematic explorations never feel like misfires as much as they feel a bit undercooked.

Falconer deftly captures the pain and worry present in such a conundrum. But through her beautiful ode to Green Lake, she reminds her audience and characters that it will be okay.

Dylan O’Brien delivers a career-best performance, and James Sweeney shows both a deft hand and great talent behind the camera as director.

Lurker is an eerie and chilling thriller that keeps its viewer stuck in an endless feedback loop of disconcerting behavior that’s only becoming more common.

If this film is anything, it’s a profoundly curious look at why we often shy away from what we feel are weaknesses. It also brushes up against this same penchant for uneasiness in the face of death with a lot of heart and honesty.

Hailey Gates shows a lot of exciting promise behind the camera.

The score is used in a thrilling way that pushes the narrative and thematic elements of the film forward.

This is a film that’s as concerned with lofty ideas of existentialism as it is with the simply mundane observations of daily beauty. That both co-exist through the lens of Amélie makes this a timeless and essential tale about growing up and learning what it means to live to the fullest.

Exhilarating running sequences are animated with such creative flourishes. It sustains a few of the lulls in this film with thrill and dramatic impact.