Scott Tobias

A 14-year-old girl finds herself drawn to bull riding in this "humble and low-key to a fault" debut feature.

Rachel Mason and her siblings grew up unaware that their parents ran a gay bookstore. Her "affectionate but thinly realized" documentary skims the surface of stories that deserve deeper dives.

This documentary about an under-recognized abstract painter presents "an extensive case for Klint as a major artist while casting a jaundiced eye on how art history gets written."

Writer/director Alan Yang turns away from his proven track record in comedy for this "earnest, drippy" multi-generational drama that traffics in underwritten, wanly dramatized conflicts.

Polish director Malgorzata Szumowska's film about a young woman (Raffey Cassidy) questioning her place in a remote religious cult wears its broad allegory on its (woolen) sleeve.

A young couple seeking a house in the 'burbs encounter an unexpected (sub)development and cannot leave. Despite its Twilight Zone premise, the film's "eccentricity and wit" carry it a long way.

Two sisters attempt to cover up a killing in a fishing village that harbors its own sinister secrets in this film that evokes the tone of films like Fargo and Blood Simple.

Leigh Whannell's update of the H.G. Wells novel traffics in a "psychological realism that's unusual for the genre," which effectively transforms it into "Gaslight with a horror twist."

The premise — young Belgian Muslim sets out to murder one of his teachers — has drawn sharp criticism; the film itself is "hugely flawed" but more thoughtful than the controversy surrounding it.

Stars Issa Rae and LaKeith Stanfield have great chemistry, but this earnest romantic drama feels "curiously flat and under-seasoned."

Levan Akin's tale of two male Georgian dancers who find happiness in stolen moments together goes through all the usual dance-movie paces, but the chemistry between its two leads is strong.

In post-WWII Leningrad, two women bonded by grief, guilt and hardship set out to make their futures brighter than the horrors of their shared past.

Robert Downey Jr.'s first post-Marvel Universe foray "is not a film. Dolittle is a crime scene in need of forensic analysis. Something happened here. Something terrible. Something inexplicable."

"The fundamental wrongness ... never dissipates," says critic Scott Tobias.

Writer-director Jennifer Reeder's soon-to-be cult hit is "Twin Peaks as recast through the lens of radical feminism, if not nearly as academic as that sounds."

Writer-director Elizabeth Banks' take on the franchise plays "like a campy, under-budgeted 'Mission: Impossible,' " that loses momentum whenever Stewart is off-screen.

Mike Flanagan directs a meandering, imitative sequel to both the Stephen King book and the Stanley Kubrick movie, The Shining; its nonhorror elements prove more persuasive than its scares.

Edward Norton's passion project — an over-lit, neo-noir adaptation of Jonathan Lethem's 1999 novel — struggles to convey the novel's interiority.

A horrified soldier in Afghanistan witnesses atrocities encouraged by his commanding officer in Dan Krauss' feature film, based on his 2013 documentary of the same name.

This "extremely weird" sequel to the 2014 film that riffed on Disney's Sleeping Beauty shunts its main character off-screen for most of its running time, in favor of CGI spectacle.