Filmworker offers a unique, never before seen look beyond the veil of Stanley Kubrick's megalomaniacal genius as told by his right hand man, Leon Vitali (Lord Bullingdon in Kubrick's Barry Lyndon), who abandoned a promising acting career to service Kubrick's grand visions. The documentary is illuminating in several regards, particularly concerning the creative process, which tends to be dwarfed by a writer or director, keeping the many people involved that help bring these ideas into a cinematic reality out of our minds and the spotlight. 

Writer/director (and comedian) Bo Burnham has conjured up something special with his film debut, Eighth Grade, a gloriously "Gucci" snapshot of the achingly awkward, cringe-inducing days of early adolescence, a time when bodies are changing and clumsily struggling to find their own way. Wrapped in a very effortless and underplayed package, Eighth Grade is universally relatable, painfully touching, and radiating with love and kindness.  

Three Identical Strangers is the engrossing, can't-believe-it's-true story of three strangers that are reunited by an astonishing coincidence after being born identical triplets, separated at birth, and adopted by three different families. Helmed by director Tim Wardle in what will most assuredly be his breakthrough film, this documentary continues to morph and will leave your jaw dangling on the floor. 

Colin Trevorrow and Derek Connolly somehow conned their way back into penning another Jurassic World script, which was handed over to the capable hands of director J. A. Bayona (The Orphanage, A Monster Calls), who seeks out to inject the franchise with some much needed humanity. 

Sicario 2: Day of the Soldado marks the return of screenwriter Taylor Sheridan, along with actors Josh Brolin and Benicio Del Toro reprising their roles, with relatively unknown director Stefano Sollima and frequent Ridley Scott cinematographer Dariusz Wolski replacing Denis Villeneuve and Roger Deakins respectively, which are no small shoes to fill.

Damsel comes out of the genre-bending minds of writer/directors (and frequents actors in their own films) David and Nathan Zellner, who set out to deliver a western the likes of which we haven't quite seen before.

Writer/director (and vocalist of The Coup and Street Sweeper Social Club) has exploded onto the film scene with Sorry to Bother You, an absurdist dark comedy fable with aspects of magical realism and science-fiction. Filled with a great cast and an ambitious script, it's easily one of the most intelligent, inventive and batshit-crazy fun films you'll see this summer. 

Writer/Director Brett Haley and screenwriter Marc Basch reteam for their third collaboration, Hearts Beat Loud, the cutesy indie feel good film of the summer that colors well within the lines and will have you wanting to start a rock band, preferably with your dad. 

American Animals marks documentary filmmaker Bart Layton's break into feature film. Well, sort of. Since the film is based on the true story of a library heist that happened at the Transylvania University in Lexington, Kentucky in 2004, Layton interestingly peppers his fictionalized depiction with interviews with the men who actually committed the crime. The result is a different kind of heist film, one that makes a case for sympathy for individuals that, depending on your reading, aren't worthy of redemption. 

Upgrade comes from the mind of Leigh Whannell, best known for his penmanship on the Saw and Insidious franchises. The film promises loads of quality grindhouse thrills with a heavy dollop of sci-fi and a trace of body horror, and it manages to deliver in a surprisingly entertaining way that is all consuming. 

Action Point comes from first time director Tim Kirkby and stars Jackass members Johnny Knoxville and Chris Pontius. The film sets out to bring the physical schtick of Jackass to a fictionalized version of Action Park, AKA "The Most Insane Amusement Park Ever", and it does so with excruciating effect. 

Funny, powerful, and downright lovely are just a few adjectives that instantly spring to mind regarding Morgan Neville's latest documentary effort, Won't You Be My Neighbor? The film proves that Fred Rogers and his message (of loving yourself just exactly as you are) are just as sharp now as they were when Mr. Rogers first aired in the late 60s, and it serves as a potent testament to his many achievements and his neighborhood that made the world a better place. 

Acclaimed director Wim Wenders brings his visual sensibilities to the Catholic church in his latest documentary endeavor, Pope Francis: A Man of His Word. Wenders takes the viewer on a literal trip around the world with the holy man himself, putting us up close and personal to learn more about the man behind the message. And just as the title suggests, Pope Francis not only says the "radical" things that he says, but he lives his life through actions that reinforce his words and teachings, which prove to be as powerful and important as they are universal. 

Scandinavian documentarian Janus Metz serves up a wallop of a feature film debut with Borg vs. McEnroe, a thoroughly engaging depiction of rivalry between two of the greatest tennis players of all time and the match that made them infamous. More anecdotal that truth, but centered around actual events (1980 Wimbledon tournament), the film will have you on edge even if you know the outcome of the famous match, and draws tight psychological portraits of both Borg and McEnroe that are as enlightening as they are entertaining. 

Director Jason Reitman and screenwriter Diablo Cody (Juno, Young Adult) reteam with Charlize Theron in Tully, the story of a parent stretched to her limits and how she comes to embrace the messiness of life. The film is being billed as "a new grown-up comedy with their signature style of irreverence and insight", but don't be fooled by the trailers — there's very little that's funny about Tully. The film portrays the hardships of motherhood with such horrific precision that it's nearly impossible to laugh at times. The end result is a sometimes touching, often complex experience that will play like jumbled form of filmic birth control for the younger generation. 

9 years after their last film, The Slammin' Salmon, the Broken Lizard boys make their return as the characters that first catapulted them to cult status 17 years prior with their crowd-funded sequel to Super Troopers. It's as triumphant a return as one could hope, and it's filled with material that will likely give fans everything they're expecting (and maybe some more). The film does a nice job of twisting call back jokes in interesting and more meaningful ways, and despite being written prior to the 2016 election, it's a surprisingly relevant and pointed commentary on contemporary America.