Boss Level is a thoroughly enjoyable thrill ride that provides just as many laughs as it does badassery. It’s the kind of movie that blasts Boston during its best scenes. They don’t make ‘em like this much anymore.

Lucky is a dark, bloody, and pointed satire about a woman perpetually attacked by a masked stranger night after night, and how nobody really seems to care.

Wrote a bit about Nomadland, a film that left me deep in thought late into the night about home, family, and adaptability.

Together Together is a smart and sweet take on an unconventional relationship.

Rock Camp documents the fulfilled dreams of the Rock n Roll Fantasy Camp over the years and captures the joy from both the campers and the rock star counselors.

‘Willy’s Wonderland’ is ridiculous but not totally shallow. Another win for Nicolas Cage fans looking for one hell of a time.

There’s a genuine sense of familiar warmth throughout the film that’s hard to describe – it’s almost like a time machine that makes you yearn for those youthful days again.

Passing successfully juggles its many complex themes with pointed dialogue and amazing performances.

A Nightmare Wakes details the tragedies and nightmares that plagued Mary Shelley in some of the most formative years of her life, and how they gave birth to a literary horror classic.

It’s a delicate balancing act in more ways than one, making the film constantly feel like it’s on rocky ground, but the kind of resigned and nihilistic sense of humor it possesses perfectly captures the mood of the current zeitgeist.

Jordan Graham's Sator is a deeply unnerving descent into dread and terror that engulfs in its creeping soundscape.

To say that this film is timely or topical would be redundant. Its message and story are tragically timeless, and radicalizing only in their plain honesty about true events.

Cryptozoo just may be the most ambitious and imaginative work you’ve seen in years… and will probably never see again.

I found myself considerably moved by filmmaker Kate Tsang’s directorial debut, Marvelous and the Black Hole. On paper, the film appears like a simple and familiar tale of a mentor/mentee relationship; a feel-good movie with a predictable trajectory. In the wrong hands, something like this could come across as overly childish or just plain boring. But Tsang imbues her work with a distinctive visual flair and an honesty that appeals to a younger audience without ever talking down to them or taking them for granted. As a result, her film joins a growing list of emotionally intelligent stories that do more than just convey the intense feelings that children experience – think Inside Out – but offer positive and healthy conduits for them.

John and the Hole is one of those movies that refuses to spoon-feed the audience, leaving any and all scenes open for interpretation. This will certainly frustrate or bore some, but the ambiguity that Spanish filmmaker Pascual Sisto goes for in his directorial debut is the film’s greatest strength. The slow, methodical yet offbeat pace that editor Sara Shaw crafts goes hand in the hand with the distant and cold shots of cinematographer Paul Ozgur to create an unnerving tale of adolescent angst, existential dread, and what exactly it means to be independent.

Censor certainly remains worth a watch for any horror fan, and to be quite frank, the level at which lead actress Niamh Algar is playing at is fucking insane. It’s an impressive and exceptionally intelligent debut for Prano Bailey-Bond.

The Little Things treads familiar psychological thriller territory, but its strong cast that includes Denzel Washington, Rami Malek, and Jared Leto keeps it intriguing.

Shudder’s latest horror, ‘The Queen of Black Magic’ lacks a layered script underneath all the extreme gore and violence.

The potential for the film to be even just a bit more interesting is lost to the wayside among the fire and destruction, and any chance for it to be particularly memorable gets snuffed out.

Hunted may just be the first great horror film of the year.