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You don't just watch SUGAR HILL—you experience it. From the second Marki Bey struts onto the screen with her killer wardrobe and deadly glare, it's clear this isn't your average 70s horror flick. It’s a wild blend of voodoo, zombies, revenge, and pure grindhouse grit, and Kino Cult’s new Blu-ray release makes damn sure the funk, fury, and ferocity all feel brand new.

This film offers up a fully loaded gut punch to conventional storytelling. Set in the mid-'90s and soaked in grunge-era angst, it blends creative burnout, dream logic, and experimental visuals into one heady mix. It’s loud, it’s unfiltered, and whether or not you’re on board, it never stops trying to shake something loose.

JUSTICE ON TRIAL sets its sights on the courtroom not just as a place where verdicts are handed down, but as the battleground where American ideals are tested—and sometimes fail. Created by Judge Judy Sheindlin, the eight-episode docuseries revisits landmark legal decisions that have shaped the country’s sense of law, order, and fairness. While only the first three episodes were available ahead of the series’ release, even this partial view makes clear that the show isn’t just interested in the cases themselves. It seeks to explore how these decisions reverberate through history, public opinion, and the lives they impact.

SURF GIRLS: INTERNATIONAL rides the wave left behind by SURF GIRLS: HAWAI’I, expanding its view from the shores of Oʻahu to the larger stage of professional surfing. But this isn’t just a bigger playground—it’s a deeper dive. The five-part Prime Video docuseries follows returning standout Ewe Wong and four new competitors—Sophia Medina, Kika Veselko, Jessie Van Niekerk, and Sol Aguirre—as they navigate the grueling Challenger Series circuit. What we explore isn’t merely a travelogue of surf destinations, but a high-stakes portrait of ambition, resilience, and the complicated cost of chasing greatness.

With a title like DEATH & TAXES, it's easy to expect something technical and rigid. But what filmmaker Justin Schein delivers is far more intimate—and far more revealing. What begins as a documentary about estate taxes evolves into a deeply personal reckoning with legacy, inequality, and the hard-to-swallow truths that often lie at the heart of American wealth. Schein turns the lens on his own family, and in particular, his late father, Harvey Schein—a powerful and complex business executive whose lifelong obsession with keeping his fortune out of the IRS's grasp nearly tore their family apart.

As a storm creeps closer to a sleepy Florida town, NO SLEEP TILL chooses to follow not the path of destruction, but the people who decide to stay behind. Instead of creating a race-against-time narrative or plumbing the depths of catastrophe, the film prefers to remain grounded in the stillness before impact, the silence before the storm. It’s a confident, stripped-down debut from Alexandra Simpson, and while its minimalism may frustrate some viewers, its commitment to atmosphere, character, and subtle expression is never in question.

Something is mesmerizing about ICONIC—a dark, stylish plunge into the psychosis of modern-day influencer culture that lingers longer than you’d expect (I still keep thinking about it.) Director Matthew Freiheit’s debut feature walks the line between satire and psychological horror. The film thrives on the boldness of its vision and the sheer commitment of its lead, Emma Jade, who plays the truly iconic Rose.

A documentary like LIFE AFTER enters the conversation like a challenge, asking not only whether we value disabled lives, but what it means when society quietly answers “not really.” Directed by Reid Davenport, a disabled filmmaker known for I DIDN’T SEE YOU THERE (another incredible film), this searing, often heartbreaking investigation reexamines the legacy of Elizabeth Bouvia, a disabled woman who, in 1983, became a flashpoint in the national right-to-die debate. But what Davenport uncovers in that legacy isn’t just history—it’s a warning.

THE SONS OF GREAT BEAR doesn’t just stray from the American Western blueprint—it redraws the entire structure. Crafted by East Germany’s state-run studio DEFA in 1966 and adapted from Liselotte Welskopf-Henrich’s popular novels, the film reimagines the frontier through a distinctly socialist lens. While the typical Hollywood Western centers on the concept of manifest destiny and rugged individualism, this film inverts that narrative, instead focusing on Indigenous resistance, collective struggle, and the moral bankruptcy of colonial greed.

MOTHER NATURE AND THE DOOMSDAY PREPPER blends opposites-attract rom-com charm with environmental notification and a healthy dose of fantastical absurdity. It's the kind of film where romance blooms amid wildfires and rising sea levels, where divine ultimatums are handed down from Mount Olympus via scrolls, and where the fate of the planet might depend on one man's bunker solution and one goddess's patience. If that sounds like a lot, it is—but it's also kind of the point.

Some rediscovered films feel like lost treasure. Others, like DAMES AND DREAMS, feel more like the contents of a forgotten drawer—curious, colorful, and undeniably nostalgic, but not exactly essential. Long buried and finally restored, this 1974 sexploitation oddity from director Harry Sahn reemerges after decades in obscurity.

THE TROUBLE WITH TESSA opens with the eerie quiet of a town that looks just a little too polished. A porch, a welcome, and the kind of friendliness that feels rehearsed. That’s what greets Tessa Fowler—a former documentarian whose credibility is in shambles—when she moves to Lowery looking for peace. What she finds is a half-buried history and a chilling sense that the people around her are playing roles in a much older script.

In a landscape where psychological thrillers often lean on tired tropes and flashy aesthetics, SOUL TO SQUEEZE stands out by its restraint—and then slowly, methodically, pulling that restraint apart. What starts as a claustrophobic exploration of one man’s unraveling mental state morphs, quite literally, into something bigger. Director W.M. Weikart dares to build a film not just about perception but shaped by it, allowing form to follow function in a way that elevates the story beyond its roots.

BENEATH THE FOLD strips journalism of its romanticism and puts the job back where it belongs: on the floor of a crumbling newsroom, littered with empty coffee cups, exhausted staff, and half-finished stories. Writer-director Neil Thomas Kirby—drawing on his own experience as a small-town reporter—delivers a somber yet honest portrait of a profession gasping for relevance during a financial crisis, where passion runs high but resources run dry.

In an era where headlines vanish faster than the lives they mark, TETHER refuses to look away. It takes a national nightmare—the kind that’s become tragically commonplace in America—and focuses not on the violence itself, but on what lingers in its wake. With a modest budget, a sharp emotional focus, and the quiet power of two characters, this film is less a portrait of trauma than a confrontation with its long tail. While the story itself and the honesty behind it are incredible, the execution occasionally struggles to match the same level of quality.