Writer/director Jordan Firstman makes his feature debut with A24’s ‘Club Kid’. Firstman’s singular voice shines through in a wonderfully warm and achingly raw story of fatherhood and emotional maturity set against the rich backdrop of NYC.

Warner Brothers aims to breathe new life into Dr. Seuss’ beloved story ‘The Cat in the Hat’, and luckily this wacky and imaginative new take is a treat for the whole family.

Netflix’s ‘The Mosquito Bowl’ from director Peter Berg aims to be the next classic war film. Though it’s handsomely made and consistently thrilling, this period piece doesn’t have nearly enough emotional heft.

Director Brad Bird makes his long-awaited return with his latest animated feature and passion project ‘Ray Gunn’. the film proves to be more than worth the wait as he continues to effortlessly excel in this highly populated genre.

Yuval Abraham and Rachel Szor’s ‘NAZA’, is as important as their Oscar-winning documentary, perhaps even more so, as the public is directly confronted with the IDF’s systematic mass-killing operation in ways that will linger deep in their memory.

In her feature-length documentary debut, ‘Black Zombie’, Maya Annik Bedward reclaims the Zombie from its distorted allegories and showcases its true importance through the figures that want to ensure its perennity. 

David Greaves’ restoration of his father William’s reunion of the Harlem Renaissance in ‘Once Upon a Time in Harlem’ might be one of the year’s most essential works of cinematic preservation. 

Writer/director Taika Waititi is back with his quirky new sci-fi feature ‘Klara And The Sun’. Unfortunately, though the film is brimming with potential, there is far too much of it left on the table.

‘Wicker’ sets its sights on being the next romantic phenomenon as this offbeat romance story makes great use of its novel premise and two talented leads.

John Wilson uses concrete as the ultimate metaphor for humanity’s current predicament in the incredible ‘The History of Concrete.’

No documentary this decade may be more form-breaking than Nathan Fielder and Lance Oppenheim’s ‘You Can See Everything’, which questions the very act of documentary (or vérité) filmmaking by continually examining the deceitful natures of Elizabeth Holmes and Billy Evans.

Kitao Sakurai’s ‘Street Fighter’ is ripped from the ‘90s, with killer visuals, striking action sequences, and a remarkable ensemble cast. Its over-the-top approach may hold it back at times, but its commitment to absurdity makes it one of this year’s biggest surprises.

After making a notable splash with his sci-fi film ‘No One Will Save You’, writer/director Brian Duffield is back with his latest feature ‘Whalefall’, a ferociously visceral sci-fi film that will give audiences a new reason to not want to go back in the water.

After taking the world by storm with ‘Godzilla Minus One’, director Takashi Yamazaki returns with the highly anticipated follow-up ‘Godzilla Minus Zero’, a miraculously satisfying sequel that only enhances the visual and emotional scope.

Yet again, the work of author Jane Austen has been mined for the big screen in Georgia Oakley’s new adaptation of ‘Sense And Sensibility’. Thankfully, in Oakley’s capable hands, this adaptation is absurdly delightful and deeply romantic.

Apple aims to take the Mattel IP to new heights in ‘Matchbox: The Movie’, an action film based on their popular miniature car toy line. However, while this genre film offers plenty of entertaining set pieces, it does very little with the beloved IP at its core to justify its use of it.

Moeka Hoshi delivers one of the year’s most impactful performances in Dave Boyle’s underseen ‘Never After Dark’, a chiller that owes much to Kiyoshi Kurosawa's aesthetic and storytelling impulses.

Sixteen years after the cultural phenomenon that was ‘The Social Network’, writer/director Aaron Sorkin has returned with a follow-up in ‘The Social Reckoning’, a timely and compelling film that functions more as a companion piece than a sequel.

‘Beware Boiúna’ aims to bring back back some nineties nostalgia with thrills and chills. However, this creature feature forgets to have any fun with its inherently silly premise.

Tom Cruise sets his sights on Oscar gold with ‘Digger’, a timely, wildly ambitious and bold swing that is a thunderous wake up call as much as it is a deeply entertaining, potent social satire.