Ankit Jhunjhunwala

Pay a thought to kids growing up during wartime. Gornostai captures a snapshot of their everyday heroism on film, embalming it for future generations.

A Poet is modest but engrossing and a successful attempt by Soto to transcend the stereotypes imposed upon him and his cinema as a Colombian artist.

Ultimately, Driver’s Ed does win you over, and you can always watch it the way its protagonists would—while scrolling through your phone.

[Fuller's] whimsical new family-action-adventure film is a lovingly crafted paean to a child’s imagination and a throwback to the glorious family films of the ’80s. It is also visually dazzling beyond all reason with staggering production design.

Charlie Harper is a fine romantic melodrama.

If you can imagine a firearm kill, an explosion, or a knife-fight, chances are that Wheathely has packed into Normal— so bountiful are the action confrontations with various configurations of characters.

A Useful Ghost should first and foremost be enjoyed as the mainstream accessible entertainment it is meant to be, let not its festival trappings deceive you. It will admittedly be a curiosity for Western audiences, but once in tune with its peculiar and particular modes of storytelling, they will find plenty to enjoy and unpack.

The Falling Sky, in some ways, is also a time travel movie, as we get to peek into the past and see ourselves in people for whom time has stood still.

Norwegian filmmaker Emilie Blichfeldt’s horror dramedy is largely entertaining on its own terms, even for viewers unwilling to dig deeper. Its modernist meta-textual caustic sting? You can take it or leave it. But it will richly reward those in tune with Blichfeldt’s gleeful bastardization of fairytale tropes.

Vermiglio is rich in textures and tactile pleasures and is performed with conviction by a cast mixing professional and non-professional actors.

Hold Your Breath is a strange beast—there aren’t enough thrills for horror heads nor any blood and gore for slasher fans. Even as straight drama, it isn’t entirely successful.

The Return is one of the few instances where we wish for more fiery blood and guts rather than less. Even so, this is a superior rendering of a well-worn tale

All told, “Eden” is deeply engrossing throughout and is a compelling look at nasty, vicious characters cracking under trying conditions. The fact that all of this really happened makes this bizarre tale that much more intriguing.

Bring Them Down is Chris Andrews’ debut feature as a writer and director after working in the camera department of several productions. He has a nice feel for the story’s setting and shows some facility filming action. A tighter handle on dramatic construction and character development would enhance his feature filmmaking ventures.

The film will interest school and college athletes and their families as “Unstoppable” ably captures that experience.

There is definitely some extraneous storytelling muddle in The Life Of Chuck, but once you get past the opening act, there are glories to be had – in the form of a terrific childhood coming-of-age tale anchored by a star-making turn by Pajak and exceptional dancing by Pajak and Hiddleston.

With a minimalist production, an enormous burden is placed on the actors to engage audiences, and all three performers come through.

Nightbitch operates in too many modes at once, making a muddle of most of them.

Any novelty in the film is provided by watching spirited kids being themselves, something Green does manage to capture.

Crowley and Payne owe a considerable debt to Pugh and Garfield. But for their presence, the film might not have been able to rise above its borderline twee mundanity.

The concept of performance is barely distinguishable from the act of living these days, as being filmed in one capacity or another is ubiquitous. Silvia and Beba yet manage to bring an element of intimacy that makes us invest in their lives and stories.

This is rigorous filmmaking of the highest order, controlled and precise to the exclusion of anything extraneous —evidenced by its taut 100-minute runtime.

Kapadia’s gentle voice disguises her subversive spirit.

While bereft of the lurid pleasures that have propelled Saltburn to its ubiquitous social media popularity, Brief History Of A Family is nevertheless a smart and engaging debut feature, and preferable since it has something of value to communicate to audiences.

El Moudir, at long last, demands a reckoning, that will uncover old wounds, but also provide closure.

While other directors make grand gestures about societal inequities, dating themselves with their stories and form, Jude is happy to launch a Molotov cocktail at everything that came before him. He is one of the freest filmmakers working right now—unencumbered by rules, politesse, or good taste. Contemporary malaise has rarely been captured on screen with such thrilling vividness as in Do Not Expect Too Much From The End Of The World.

Tamahori successfully brings a sense of scale and scope to “The Convert” He displays an eye for wide-screen compositions, and the film is frequently visually stunning.

The narrative proceedings provide sufficient interest for the duration, making it easy to recommend this film.