Sundance

The Moment (2026) is boring at best, vapid at worst, but it’s always confusingly boring for the amount of personality Charli xcx brings to it.

Buddy (2026) squanders its potential due to inconsistencies in its aesthetic, characterization, and a misjudged B-plot. 

Predators lacks the structure or commitment to completely confront its subject in a satisfying manner, but gets close in some key areas.

Bunnylovr is a strong showing of tenderness and understanding that highlights Katarina Zhu’s ability to paint an immersive portrait.

Writer-director Rashad Frett’s feature debut, Ricky (2025), is necessary viewing, and a prime example of compassionate storytelling.

Plainclothes (2025) is an emotionally dense watch as Lucas comes into his truth, but his guilt weighs heavy.

LUZ is backed by an easy on the eyes aesthetic, but its wandering nature and lack of real insight leaves it as a missed opportunity. 

Cole Webley and Robert Machoian’s Omaha (2025) is a family portrait you can’t pull your eyes away from, a movie that thrives in subtly.

Rose Byrne’s If I Had Legs I’d Kick You will make you want to crawl under my seat, it will make you want to simply stop existing.

It’s Never Over Jeff Buckley (2025) lifts the curtain back on the lost voice of a generation, revealing someone who contained multitudes.