Nine years ago, Toy Story 3 felt like the perfect endnote to Pixar’s beloved franchise. When it was announced that a fourth installment was in the works, it felt more like an uninspired cash grab than a necessary continuation of the story. Many people wondered what the point of making a fourth movie even was. What purpose could this film possibly serve?

On the evening of June 17, 2015, a 21-year-old white supremacist walked into the Emanuel AME Church in Charleston, South Carolina and killed nine people. Brian Ivie’s documentary Emanuel recounts the story and gives the survivors and relatives of the victims a platform to share their experiences. Ivie pulls together journalists and political figures for interviews but gives special attention to the people affected by the tragedy on a more personal level. The film tackles its sensitive subject matter in a profoundly respectable fashion.

On the surface, Jake Scott’s American Woman might seem like a run-of-the-mill film, between its generic title and familiar premise. Rather than make this a movie about a woman trying to figure out what happened to her missing daughter, Brad Ingelsby’s script turns this into a deeper story about life itself. It beautifully captures the cyclical nature of life’s tragedies and triumphs.

Lulu Wang’s The Farewell is one of those rare films that’s nearly impossible to dislike. It’s so moving and endearing that it’s guaranteed to be a crowd-pleaser. Not only is the film significant for its authentic representation of Chinese culture, but it also provides a riveting contrast between family traditions in the East and the West. Yet there’s something so fundamentally universal about it that anyone can identify with it.

As the title clearly implies, F. Gary Gray’s Men in Black: International takes the MIB overseas. Neither Tommy Lee Jones nor Will Smith reprise their roles for the fourth installation in the series. Their absence makes the film feel more like a spin-off than a sequel. But in terms of story structure, Men in Black: International plays out more like a reboot. It hits all the familiar beats of the original, most notably the teaming up of a young recruit with a more experienced agent. Unfortunately, it lacks the spark of Barry Sonnenfeld’s 1997 film.

Any new zombie comedy that hits theaters is inevitably going to draw comparisons to Edgar Wright’s Shaun of the Dead (2004) or Ruben Fleischer’s Zombieland (2009), but Jim Jarmusch’s latest film owes more to the works of George A. Romero than anything else. Fortunately, Jarmusch’s deadpan sense of humor is enough to help The Dead Don’t Die hold its own.

To call Andrea Arnold’s American Honey a “great film” would be an understatement. American Honey is an extraordinary experience, albeit a subjective one. American Honey is entirely what one makes of it. It’s highly unlikely that any two viewers will have the exact same experience with this film, but there is something for everyone to love about it.

Perhaps the most common critique of Nicolas Winding Refn’s divisive film The Neon Demon is the claim that the film is “all style, no substance.” However, this argument is exactly the point that Refn is trying to make. The film focuses on the theme of vanity and condemns society’s hollow obsession with physical beauty. The way in which the film critiques this idea is by acting as an allegory.

Not only is Jennifer Kent’s The Babadook an outstanding feature debut, but the film is also a much-needed return to the roots of the horror genre. The Babadook stands out in stark contrast to the array of recent horror films that rely heavily on cheap jump scares and gory imagery.