Elliot Page’s portrayal in CLOSE TO YOU pulls us into an intricate tale of family drama, spotlighting the conflicts that surface when one returns to the roots they've once left behind. Directed by Dominic Savage, this film stands out for its raw, improvisational dialogue style that effectively captures the authenticity of strained family relationships and the personal battles against societal expectations. To be entirely clear, this is one of those situations where I feel my opinion of the film doesn’t matter. Page says making CLOSE TO YOU, his first feature film since publicly coming out as transgender, was “one of the best experiences I've ever had.”

FALLING STARS ventures into the folk horror arena with a unique take I wasn’t expecting. Directed by Richard Karpala and Gabriel Bienczycki, the film offers a refreshing and intellectually stimulating dive into witchcraft myths, blurring the lines between the fantastical and the every day with poise and suspense.

A quaint Pennsylvania town becomes the eerie backdrop for MR. CROCKET is a film that cleverly twists the traditional children's television host into a harbinger of horror (let’s be honest, most of them weren’t far from it.) This 1993-set movie, directed by Brandon Espy and produced by Hulu Originals and WorthenBrooks, melds camp, fantasy, and terror into a narrative that, while occasionally all over the place with its tone, pushes the envelope of conventional genre boundaries with its audacious storytelling and innovative use of practical effects.

In independent cinema, SISTER WIVES emerges as a powerful narrative that portrays the journey of two women challenging the oppressive shackles of a tightly-knit community. Directed by Louisa Connolly-Burnham, this 29-minute film immerses audiences in a 2003 Utah backdrop, where our leads, Kaidence (Connolly-Burnham) and Galilee (Mia McKenna-Bruce), confront the stormy challenges of forbidden love and cultural rebellion.

BAD GENIUS dives right into the thick of an intellectual battleground where school tests aren't just paper—they're the safes our protagonists crack in this slick academic heist. Directed with a unique vision by J.C. Lee, this remake of a Thai film not only reimagines the story for a Western audience but drills deep into the modern adolescent psyche, grappling with the ethics of right versus wrong in a system stacked against them.

Venture into the shadowy depths of DADDY'S HEAD, where the haunting blend of psychological and paranormal elements creates a thrilling experience. In this remote, sprawling estate, young Isaac (Rupert Turnbull) faces the echoes of his past under the care of his stepmother, Laura (Julia Brown,) following his father's unexpected death. The film, directed by Benjamin Barfoot, maps their journey through grief and the spectral disruptions that seem to mirror the widening chasm between them with unnerving accuracy.

In 1972, John Lennon and Yoko Ono staged a radical takeover of "The Mike Douglas Show," a week that forever changed the fabric of daytime television. Under Erik Nelson’s direction, DAYTIME REVOLUTION revisits this pivotal period, showing how the couple used the platform to fuse entertainment with activism, fundamentally shifting the national conversation.

BODY AND SOUL untangles more than just a fighter's journey; it portrays a drama of conflict between personal ambition and moral integrity. Under the direction of Robert Rossen, the movie doesn't just punch but jabs at the underbelly of the sports world, where the glitz of the spotlight often overshadows the grit required to stay in it. In a career-defining role, John Garfield portrays Charley Davis, whose meteoric rise in boxing is as fraught with tension and conflict as his battles within the ropes.

In the darkest corridors of British cinema, BURN WITCH BURN (also known as NIGHT OF THE EAGLE) emerged as a riveting exploration of the conflict between rational thought and the mysteries of the unknown. The 1962 production, under Sidney Hayers’ direction, twists elements of psychological intrigue with supernatural experiences. This film gains its atmosphere from the masterful scripting by Richard Matheson, Charles Beaumont, and George Baxt, who collectively draw upon Fritz Leiber’s novel ‘Conjure Wife.’

Sidney Lumet's rendition of MURDER ON THE ORIENT EXPRESS immerses us in a luxurious saga filled with intrigue and mystery, underpinned by a constellation of stellar performances by Albert Finney, Ingrid Bergman, and Sean Connery. The visual splendor and the complex plot hold the promise of a classic thriller. Still, the film’s leisurely pacing and lack of depth in character exploration can dampen the overall excitement. Amid the plush interiors of the famed locomotive, the story chugs along, revealing a murder that should accelerate the heart rate but occasionally feels like a slow burn rather than a pulsating ride.

DINDIN revolutionizes the classic dinner party trope with a twist that transforms a gathering into a riveting psychological clash. Writer Brenda Withers adapts her acclaimed stage play to the silver screen, capturing a powerful theatrical essence in the intimate confines of a single evening. The hosts, Pierre (Robert Kropf) and Emily (Stacy Fischer,) initially exude an aura of sophistication that gradually disintegrates to unveil profound discontent. Meanwhile, the volatility in the relationship between guests Darlene (Brenda Withers) and Ricky (Jonathan Fielding) threatens to escalate into open conflict as each character’s dialogue strips bare their inner turmoil and societal critiques.

Venture into the world of KILLERS, where two escaped convicts shatter suburban tranquility. This film takes a bold leap into the murky waters of crime and punishment, embellished with a darkly comic twist that sets it apart. Directed by Mike Mendez, and written by Mendez and Dave Larsen, KILLERS doesn't just narrate; it dares to satirize our grim fascination with the macabre, weaving a cinematic tale that's as visually bold as it is narratively ambitious.

The haunting aura of an abandoned convent becomes the epicenter of a darkly humorous nightmare in a film that marries comedy with horror. Beginning in the 1960s at St. Francis Boarding School for Girls and catapulting to four decades later, the story explores the story of a group of modern teens encountering malevolence on the same cursed grounds. The movie, directed by Mike Mendez and written by Chaton Anderson, skewers the B-movie genre, blending satire with spine-chilling sequences, all set to a perfectly curated soundtrack that cleverly subverts the traditional horror ambiance.

TO CLOSE YOUR EYES AND SEE FIRE takes us through the heart of Beirut, a city piecing itself back together after a devastating explosion. This film stands as a testament to the undying spirit of its residents, capturing their daily struggles and fleeting moments of joy amid relentless chaos.

In the gritty world of wrestling, BELOW THE BELT emerged as a poignant exploration of identity, resilience, and empowerment. Through the story of Rosa Rubinsky (Regina Baff,) a woman disillusioned with the monotony of daily life, we witness an intense transformation as she finds new inspiration within the wrestling ring. This film does more than just tell a wrestling story; it offers a profound narrative of the trials and victories of a woman navigating a space where she is both a newcomer and a trailblazer.

Every year, I wait for that film that hits me; there always seems to be one movie I connect with more than anything else I watch that year, and I believe we found this year's winner! Set against the backdrop of early 2000s Los Angeles, GOOD GIRL JANE is not your typical teen drama. This film dives into the raw and often painful realities of adolescence entangled with the throes of addiction. Rain Spencer delivers a tour-de-force performance, embodying Jane's journey with a vulnerability that pulls at the seams of your heart. Writer/director Sarah Elizabeth Mintz crafts a narrative beyond surface-level drama, offering a gritty, realistic portrayal of the battles fought in the quiet corners of a young girl's life.