Although it’s more about the work and politics it takes to put on retrospective of a famous artist’s work at a museum, the documentary Hieronymus Bosch: Touched by the Devil offers a lot of insight and a surprising amount of great humour.
Those who love the mid-to-late 90s output of Sam Raimi, Quentin Tarantino, and the Coen brothers will find a lot to love in the complicated, slyly farcical Norwegian thriller In Order of Disappearance.
In the often wonky sub-genre of historical romances, the light-on-its-feet airiness of Southside with You hits like a refreshing breeze of originality.
Angry Indian Goddesses starts as a hilarious and biting feminist comedy about a group of friends gathering together for a wedding in modern day India, but it turns into something darker and sadder in the final act.
No one asked for a reboot of Ben-Hur, one of the greatest cinematic and religious epics ever made, so I suppose the best that can be said about a loose remake helmed by the director of Abraham Lincoln: Vampire Hunter is that it isn’t consistently awful.
While it doesn’t exactly elevate the usually routine trappings of stories featuring delinquent teens struggling to find their way in the world, the French drama Standing Tall makes up for its use of clichés by way of strong direction, well honed performances, and a sense of dramatic depth.
A terse family drama that increasingly gives way to a more intense psychological thriller, Edge of Winter, the debut feature from filmmaker Rob Connolly, takes a simple approach to a simple idea and results in a simple, but well mounted film.
Two time Oscar winning documentarian Barbara Kopple (Harlan County U.S.A., American Dream) takes a look at a soul singer battling cancer and the stresses brought on by rising success in the crowd pleasing, but remarkably well rounded film Miss Sharon Jones!.
Unlocking the Cage, the latest documentary from acclaimed veteran filmmaking duo Chris Hegedus and D.A. Pennebaker, takes a look at one man’s quest to grant certain animals the same rights as human beings.
The sundrenched and dirt-caked crime drama Hell or High Water doesn’t break a lot of new ground when it comes to modern day neo-noir, and it doesn’t need to.