John Fink

Directed by Georgia Bernstein, the perverse Night Nurse doesn’t quite qualify as a psychosexual thriller, despite underlying erotic tension; there is something more seductive and sinister under the surface.

As far as dumb comedies go, Pizza Movie is a masterclass in throwing everything at the wall to see what sticks. It doesn’t always land, but when it does, it really does.

Carney has offered a sharp, hopeful crowdpleaser that strikes the right notes.

A funny, often fascinating riff on aspirations both in and out of reach, I Love Boosters is ambitious and, like Sorry to Bother You, explores the systems that make the American Dream possible for only a select few. But the film is also a gleeful celebration of the underdogs scraping by as the cost of living increases.

Our Hero Balthazar is an effective entry point into a crisis that truly needs more coverage in both documentary and narrative cinema.

The film is at its best in moments of warmth, humor, and kindness—that is where it really shines, without needing to amp up the stakes or shift forms.

Mohammed Ali Naqvi’s Hanging by a Wire is not without thrills and human drama. Yet it seems focused more on a death-defying rescue than on what could be done to prevent this from happening again.

Despite fine performances and a riveting premise—prisoners finding meaning in caring for their elders, even a violent white supremacist—Frank & Louis falters by putting its characters in predictable, nuanceless boxes.

Paul Andrew Williams’ Dragonfly largely succeeds because it never quite telegraphs where it’s going until its third act.

While the film may embrace a low-budget, drab-naturalistic aesthetic, it’s far from dull. Duplass, Strassner, and Larsen brilliantly execute one of the year’s finest romantic comedies.