What do Mark Twain and wrestling have in common? They’re both foundational to Tyler Nilson and Michael Schwartz’s debut feature, The Peanut Butter Falcon. The film is a real southern charmer that takes you on an indelibly sweet adventure full of moonshine, camaraderie, dreams, and redemption.

Ayaneh is the latest short film from award-winning Swedish Director Nicolas Greinacher, which recently came off a few wins at the Oscar-qualifying Rhode Island International Film Festival and received theatrical screenings at the Arena Cinelounge in Hollywood. This topical drama about rebelling against cultural norms packs a lot into its short runtime, and it is sure to stay with you long after it cuts to black.

Filmmaking duo Matt Bettinelli-Olpin & Tyler Gilett (Devil’s Due, Southbound) give “The Most Dangerous Game” a hefty dose of family dysfunction in their latest effort, Ready or Not. Filled with dark comedy, a bit of horror, and a few genuine surprises, this goofy genre mash-up delivers on crowd-pleasing fun, but it ultimately lacks the sharp teeth and nuance necessary to leave a lasting effect.

We’ve got the early insight on writer/director Greg Emetaz’s feature film debut, Camp Wedding, which you can pick up on iTunes on August 20th. The film gives the wedding comedy a nice summer-camp horror makeover in this satire about the “horrors” of modern-day miscommunication.

Richard Linklater returns with the bubblegum comedy Where’d You Go, Bernadette. The film marks Linklater’s fifth adaptation and his first collaboration with actress Cate Blanchett. Though it falls in the lower tier of Linklater’s body of work, it’s still the kind of singular effort you’d expect from a filmmaker of his caliber.

Writer/director Quentin Tarantino is back to take us on a blast to the past with his 9th feature, Once Upon a Time … in Hollywood. This slow-burning buddy hangout finally unites Brad Pitt and Leonardo DiCaprio, and gives us another slice of revisionist history in that particular Tarantino way. Get strapped in, its wild antics are sure to take you for one helluva swinging ride.

Writer/director Lulu Wang’s second full-length feature, The Farewell, a modestly complex family drama, is nothing short of an indie breakthrough. Backed by the consistently great A24, the story is one that’s close to the chest for Wang, and while its story is culturally specific, the universality of its themes give it a relatable appeal that transcends cultural background and geographical borders.

Director Alexandre Aja seeks to bring a bit of French Extremism to the disaster thriller with Crawl. Though its premise isn’t anything new, its taut execution and solid central performances more than make up for the screenplay’s dull teeth. You may just be tickled pink by this surprising chomp!

Writer/director Riley Stearns’ latest effort is just as surprising and refreshingly offbeat as his cult-centric debut, Faults. Audacious and kooky, The Art of Self-Defense is a wholly original dark comedy with something more to say. This one is sure to deliver a karate chop straight to your funny bone.

Acclaimed director Paul Thomas Anderson teams up with music icon Thom Yorke to create an audiovisual feast with his “one-reeler,” Anima. Commissioned by Yorke in support of his new solo album of the same name and distributed by Netflix, the film is a blissfully haunting marvel that packs a lot of juicy images and an array of feeling into its 15-minute runtime.

From the mind of Mindy Kaling comes Late Night, an HR-appropriate workplace comedy about a falling star’s fight to maintain relevance. While the film confidently takes on a variety of issues with charming gusto, it ultimately bites off a bit more than it can fully chew and is safe to a fault.

Childhood friends Joe Talbot and Jimmie Fails’ debut feature, The Last Black Man in San Francisco, made massive waves at this year’s Sundance Film Festival, where it won awards for Best Directing and a Special Jury Prize for Creative Collaboration. Based in part on Fails’ own life (he co-wrote the script with Talbot, who produced and directed), the film is a poignant and personal love letter to a city that’s up against a considerable amount of change. Ripe with poetic lyricism, it’s as visually appealing as it is emotionally resonate.

Director Lars Klevberg takes the Child's Play franchise into the modern era with his debut, a reimagining of the original horror classic penned by first-time screenwriter Tyler Burton Smith. There’s some welcome changes, like Mark Hamill voicing Chucky, and there’s some fun sequences, but ultimately, this soft reboot fails to reach the heights of its updated premise’s potential.

Writer/director Jim Jarmusch has taken on the western (Dead Man), the samurai film (Ghost Dog: The Way of the Samurai), the assassin film (The Limits of Control), the vampire film (Only Lovers Left Alive), and now sets his sights on the zombie genre with his latest, The Dead Don’t Die. With a phenomenal cast and self-aware wit, Jarmusch delivers a slow-burning satire that seeks to gnash its teeth into the innards of zombie over saturation.

After several delays, David Robert Mitchell’s Under the Silver Lake quietly snuck out on Video on Demand. It’s a surprising move from A24, who seemed to have no faith in this quirky neo-noir mystery that is equal parts Alfred Hitchcock, David Lynch, and Thomas Pynchon. With an ambitiously wild premise full of twists and turns, the film is about one man’s quest to find meaning in a confusing world, and its two and a half hour journey will either wow you or lull you to sleep.

Trick ‘r Treat and Krampus writer/director Michael Dougherty follows up Gareth Edwards’ 2014 film with the highly anticipated Godzilla: King of Monsters. The film promises spectacular kaiju action and loads of carnage, but are dazzling special effects any match for a compelling story?

Director Tate Taylor, most well known for The Help, takes a stab at the horror genre and brings long-time collaborator and acting powerhouse Octavia Spencer along or the ride in a prominent role — something that shouldn’t be as rare as it actually is. Ma certainly aspires to bring the ruckus to the party, managing to be a pretty good time on that front, but it also winds up too sloppy drunk, completely losing sight of what it’s trying to say.

Olivia Wilde is making waves with her directorial debut, Booksmart, and for good reason, too: it’s an absolute blast! Filled with lovable characters, wild antics, and heart, Booksmart is the female driven comedy we’ve all been waiting for.