Bobby LePire

Survive The Game may tell an oft-told story, but the script avoids most well-worn tropes in favor of a no-frills actioner. Said action is exciting and fun throughout, as the game cast (especially Murray and Ward) capably bring the proceedings to life.

The finale of Zero Avenue is as brutal and wild as one would hope. Even though the first five minutes are a little patchy, the rest of the film easily overcomes those issues. The two leads are great, the plot is very original and exciting, and the director maintains a tense atmosphere.

When I Consume You is stunning to look at and beautifully acted. Even though not everything makes sense, Ewing and Dumouchel ensure that every emotional beat feels honest and the entire film breezes by, as it is startlingly original and unique. It is not perfect but it is ambitious and touching, and that is enough.

What Josiah Saw examines religion, trauma, grief, sanity, and familial bonds in a truly unique way. Grashaw elegantly balances the heavy drama, action, and horror moments, crafting an unforgettable journey. Dilts intelligent screenplay is brought to life by a stunning cast giving it their all in every scene.

Caged Birds is a masterpiece from start to finish. The directing is strong, balancing a lot of tones at one time. The writing is strong, with two likable, engaging characters at the forefront. The visuals and music are excellent, elevating the characters and atmosphere masterfully.

It’s scary, intense, and moody. Derrickson’s first film since Doctor Strange (the first one, the good one) is one of the best horror films in a very long time.

Thanks to the stylish direction and strong cast, the film is sure to terrify and delight everyone who dares to play along.

My Dead Dad could have been histrionic, filled with overacting, based on just its plot synopsis. However, thanks to carefully written characters, an excellent cast, and some jaw-droppingly inspired editing, the drama finds the truth in the small moments between people.

The blending of animation and live-action is incredible, the pacing is swift, and the cast gives it their all. When combined with the strange but excellent sense of humor and strong characters, the picture becomes a lovely surprise. Overall, Chip ‘n Dale: Rescue Rangers is a fast-paced, humorous, action-packed ride the whole family will get a kick out of.

The Aviary is a stunning work of art about how people get sucked into something offering a glimmer of light and how that light becomes distorted.

The Unbearable Weight Of Massive Talent offers something for hardcore Cage fans, cinephiles, or anyone looking for something refreshing and unique. It’s original, funny, dramatic, and action-packed without the tonal whiplash one might expect from such an ambitious narrative.

Even at 81-minutes long, Poppy Field drags a bit in the middle. But, the story is important, the lead actor is stunning, and the direction is excellent. Overall, this is a revealing and riveting look at how countries are dealing with the LGBTQIA+ in the worst possible ways.

The core cast, Pine and Foster especially, are superb, while the screenplay gives them plenty to chew on. At a quickly moving 105 minutes, the film is worth the time investment.

The cast is strong, the comedy and the horror work perfectly in tandem, the meta-commentary is the best Scream, and the ending line is sheer perfection.

You Are Not My Mother burrows underneath the nerves and stays there. It accomplishes this thanks to the amazing cast and strong visuals, which are ideally suited to the intense material.

Moore’s outstanding direction (seriously, how is this his first feature-length effort?) is stylish, subtly reeling one in, as the suspense and thrills slowly boil over.

Storywise, Campbell-Hughes ably plays audiences like a harp. The plot often lulls those watching into a false sense of complacency before upending the expected resolution. In this way, the filmmaker keeps the narrative fresh and unpredictable through the bitter end.

Thanks to strong direction, fantastic editing, and good acting, Deadstream is frightening, funny, and enjoyable.

While it is not for everyone, those who can stomach the admittedly cringey, well everything about the plot, will find much to love.

Thanks to strong characters, a great cast, and one bonkers-in-the-best-way finale, the film is sure to please undiscerning fans that just want to have a bit of cool-looking fun for an evening.

The Changed is telling a story that has been told before. But, the writers have managed to create something compelling and different, thanks to the themes and excellent characterizations. Combine that with the stellar cast and fantastic ending, and you have a title to seek out as soon as possible.

The direction keeps things moving along nicely, while the cinematography makes the whole production look bigger and slicker than it would come across otherwise. Couple that with a decent script and two strong lead performances, and one gets a fine entry into the survival-thriller genre.

Thanks to a smart screenplay, excellent, stylish direction, and an outstanding cast from top to bottom, the entire production will unnerve and shake up all watching.

Fortunately, the core cast is phenomenal, especially leads DiCaprio and Lawrence, who are both luminous and effortless. Combine that with the fantastic editing and the jaw-dropping ending, and one gets a flawed but entirely worthwhile viewing experience.

The Whaler Boy is an engaging, somewhat fraught look at coming-of-age, sexual awakening, and a broken mind. Onokhov brings the role to mesmerizing life and is supported by a good secondary cast, though they’re playing thinly written parts. But, the epic look and majesty of the visuals carry this drama over any rough waters it occasionally hits.

Has one seen productions with similar stories or themes to Road To Perth? Absolutely, though never one done in this style or with such elegance. The actors honestly stir up emotions, the scenery is outstanding, the characters are lovable, and the entire affair wraps up pitch perfectly.

King Car is chock full of beautiful and crazy sequences; all brought to life by a fantastic cast.

Red Snow is a lot of fun. The two leads are well written and excellently performed. The jabs at traditional vampire lore prove to be most amusing. While it never becomes creepy, the film still is an absolute blast from beginning to end.

This Is Not A Story boasts stunning acting, fantastic music, a heartfelt plot, and impeccable directing.

Roh slowly builds to the cathartic release of scares genre aficionados crave. But, those watching will be invested thanks to the strong writing and characterizations, stunning score, and beautiful cinematography.

It is an anxiety-inducing production that is bolstered by the astounding performances of Patric and Krause. While the ending is weak, two-thirds of the film works so wonderfully it is still worth watching.

Pharma Bro is a swiftly paced, engaging, and exhaustive look into the scandals that put Martin Shkreli on the map and turned him into the “most hated man in America.”

The Killing Of Kenneth Chamberlain is a well-executed if a bit stagey, dramatic thriller that illustrates exactly why “defund the police” isn’t just a rallying cry but an important call to action. The actors are stunning in their raw performances, and the story will leave audiences infuriated. And that is precisely the point.

Cinderella fails spectacularly on just about every level.

Wolfgang examines the life and game-changing career of Wolfgang Puck in a visually engaging and charming way. While it repeats itself every so often, the food on display is delectable, and every interview is a trove of information.

The Lost Leonardo tells the tale of the most scrutinized painting of all time in fascinating, exhaustive detail.

Catch The Fair One is a fantastic and engaging effort across the board. The direction is lean and ably brings forth the emotional truth of each scene.

Hero Mode might make some adult viewers roll their eyes or just groan with its misunderstanding of technology. But the screenplay offers up some genuine laughs along with a general sweetness making it great for viewers of all ages.

Billie Piper’s first feature-length movie as screenwriter and director may have bitten off more than it could chew, but it is a daring debut that marches to the beat of its own drum. I respect it for that and enjoyed it more often than not.

The Resort takes a while to get to the good stuff, and the rhythm is interrupted every now and then. But the scares are effective, the cast does what they can with the material, and the cinematography is great. The island and the resort are captured well, and the strong reliance on setting does help smooth over some of the bumpier spots.

Best Summer Ever wants to do so much at once that it never slows down to allow the more dramatic moments to sink in properly. But, as a showcase for the cast and crew, it works rather well. Most of the songs are good, the dancing is energetic and well-choreographed, and it has charm to spare.

Even though the screenplay does not explore every character’s backstory enough to work fully, the film is still an engaging coming-of-age story with an utterly brilliant ending.

Painkiller hammers its message home, which might frustrate some viewers. But, the direction is good, the action exciting, the story interesting, and the score is beyond stellar.

If you were to rewrite the first five minutes of Bloodthirsty and left everything else the exact same, you’d have a perfect movie. As it stands, thanks to atmospheric directing, mostly good writing, and a brilliant cast, you have a very good one that is high on the creep factor populated with likeable, engaging characters.

The Djinn is scary and harrowing with a shocking and impactful ending. The acting is perfect, and the visuals are a masterclass in creating tension.

Due to outstanding writing, stylish, dazzling direction, and a breathtaking, radiant performance from Kelly McCormack, the drama never lets the audience go and proves to be a searing examination of its young protagonist and the society she lives in.

Safer at Home starts on an off-putting note, and the epilogue muddies the timeline to the point of confusion. But, nestled between those two baffling sequences lies a gripping thriller brought to life by astute direction, an intelligent screenplay, and a great cast. While not perfect, this independent production is still worth an adventurous audiences’ time.

As a celebration, the documentary is an uplifting and joyous experience filled with amusing stories and engaging anecdotes.

Most importantly, Introducing, Selma Blair is the story of a mother desperately trying to keep it together and be the best parents she can be to her son while dealing with a disease.

True creativity is not always found in creating something new but figuring out ingenious solutions to seemingly insurmountable obstacles, and these people are very creative.

This mindful story, along with the wonderfully goofy script, over-the-top directing, and pitch-perfect acting, all meld for one manic ride worth getting on.

For its searing look at mental deterioration in solitary confinement and ingrained racism in the prison system, Caged is an absolute must-watch, minor flaws and all.

While the more dramatic side of The Planters does not totally gel, when the movie works, it is a slice of delightfully idiosyncratic comedic genius. The cast is terrific, the screenplay is amusing, and the whole affair is immensely rewatchable.

Halloween Party is not scary, and as a horror movie, that is a problem. But, the characters are engaging and fun, brought to life by a wonderful cast. And the directing and writing are excellent, so there’s a lot for eager audiences to take in. Just go in expecting an engaging mystery, not scares, and you’ll be fine.

Braga’s direction is so bland and tension-free it could not make a cat jump into a tree. The cast all try their best, but only Robertson comes out unscathed. There is not a single reason to ever watch this movie.

Enola Holmes is an engaging, exciting mystery that the entire family will enjoy. The direction is spot on, the acting is brilliant, the plot is intriguing, and the cinematography is fantastic. But the ending is a letdown, not trusting audiences to be content with Enola’s arc.

It is visually stimulating and exhaustively covers much of the record industry with keen interest. In regarding each piece as a story, it takes the macro to a personal level. That is quite a feat.

An absolute must-see so that the sins of the past do not doom our future.

Max Reload And The Nether Blasters is terrific fun. The acting is great, the action is fun, the dialogue humorous, and the plot original.

Thanks to an impeccable cast and a more substantial, interesting second half, the movie is worth watching at least once.

The Cuban does not develop everything in its screenplay to complete satisfaction. But what’s there is very good and believable. Combine that with the jaw-dropping directing and visual style, along with the pitch-perfect cast, and you are left with a compelling drama that is well worth it, flaws and all.

It’s assuredly directed with a consistent visual tone, and the cast is absolutely dynamite, especially Samberg and Milioti, who have never been better.

The leisurely directing allows the strong characters and their quirks to remain the focus throughout Deany Bean Is Dead. Coupled with Volk’s excellent lead performance and fun flourishes, the movie is never out and out hilarious, but it is an endearing, droll watch that will put you in a good mood.

Shepard is smart enough to helm Unsettled as more than just an observational documentary. He wants the viewer to be stirred and inspire them to act for change. He does so by employing a fantastic score that perfectly matches the highs and lows these people experience. And instead of going for big and flashy, Shepard keeps the focus rather grounded, which makes it more intimate, thus more emotionally rewarding.

The renowned artist’s life is so compelling that her story, simply told though it may be, is still incredibly gripping and engaging.

The biggest problem with I Will Make You Mine is that the stakes are so low, it is impossible to become entirely invested.

Levin has proven a great director with Union Bridge, sadly, the story he is telling needs work.

1BR has a lot to say about what a person is willing to sacrifice to be happy and if said sacrifice is worth it. It does so effectively and intensely, with a smart script, a few plotholes aside, and excellent directing. The acting across the board is terrific, and the culmination of Sarah’s tumultuous journey during the berserk ending is well worth taking.

Wherever you may land on the ethical issues of gene manipulation, Human Nature, is a fascinating watch.

The direction is stylish, the soundtrack is excellent, and all the actors are phenomenal. Yet, the screenplay focuses on two of the most self-centered people I have seen in a long time. As such, it is difficult to truly enjoy the movie on the level it wants you to.

Camp Cold Brook accomplishes a seemingly Herculean task. It manages to make both slasher flicks and movies centered on paranormal investigations feel fresh without being a deconstructionist take.

The biggest problem with the movie is that it fails to explain the complicated theories and formulas in a way that makes sense.

Thanks to a committed cast and an amusing screenplay that works more often than not. Reality Queen! proves to be a charming affair. Mix in the surprising amount of depth mined from the brilliant ending, and despite its issues, this mockumentary proves worth a watch.

Aside from a decent cast trapped in a shoddy everything else, there is nothing to recommend here.

While director Alison Reid tries to be a bit more engaging than a simple talking-head documentary, with varying success, the movie has earnestness and heart. So, even with its issues, it is still a solid good time.

Light From Light does not totally stick the landing, as it stays small when it should have finally gone big. But the characters are well thought out and relatable, the cinematography is excellent, and the conversations between Shelia and Richard have resonance. This is all brought to life by an amazing cast, who absolutely deserve awards for their heartrendingly honest and raw performances.

Mr. Toilet: The World’s # 2 Man is an informative and fun documentary. I know that it sounds like an odd choice of words, given its subject matter, but it really is something special.

Girl On The Third Floor has enough carnage and bloodshed to satisfy all gorehounds. Director Travis Stevens gets terrific performances from an excellent cast, and the atmosphere is consistently foreboding.

All of this is goodwill, and food for thought is squandered with the third chapter follows Orin. Without getting into spoilers—He ruins the movie.

Brian Presley wrote, directed, produced, and stars in The Great Alaskan Race, and his reverence for the dire situation and heroics of the mushers are evident throughout. However, passion alone does not make a good movie.

I won’t spoil anything, but there’s a speech in which Ron describes people’s reactions to his existence that is one of the best written moments of any movie all year.

I loved the acting, the cinematography, and individual sequences work stunningly. The whole does not equal the sum of its parts.

Sgt. Stubby: An American Hero is a highly enjoyable and very well made animated feature. It has something for the whole family, is visually impressive with excellent animation, and a fantastic voice cast.

Tigers Are Not Afraid isn’t quite the masterful dark fairy tale it aspires to be. The humor is entirely unnecessary and tonally misplaced. But what it gets right, it does brilliantly. The acting is superb, the mix of fantasy and realistic drama is sublime, and the story is haunting and fascinating in equal measure.

If you did not enjoy Iron Sky, then its sequel will not sway your opinion of the franchise. Iron Sky: The Coming Race doubles down on the ridiculous antics and significant action setpieces. The spectacle of it all is even grander than the first; just remember that the characters are not. For fans, it is precisely the follow up they have been waiting for.

While there are flaws in some of the segments, it is overall a fantastic production that manages to be creepy as hell. For fans of anthologies, these directors, and horror in general, this is a great ride.

It is a compelling, powerful, and engaging drama that demands to be seen.

The last 20-minutes of the entire one hour and twenty-seven minute run time really work and successfully make the case that as much as the humans rescue the cats, it is also vice versa. It is just too bad that the first hour does not reach those same heights.

Lost Angelas is neo-noir romance filled with engaging characters, intense action, a thrilling mystery, and a lovely romance to top it all off. The directing, acting, and especially the cinematography synch up perfectly for a pulse-pounding film, that works wondrously.

Dead Trigger isn’t the worst film ever, but it oddly plays things safe. The characters have no discernible personalities, the story threads are very familiar, and the action is as generic as you can imagine. There are still only three good video game movie adaptations, and this is not one of them.

Thanks to immaculate design and puppetry work, amazing acting, and a fully realized, vividly crafted world Yamasong: March Of The Hollows is a spellbinding adventure.

When the filmmakers focus on the artists who work there, it is moving and engaging. Despite how fun it is to see your favorite musicians in everyday life, there is not much they say that is interesting.

Provocatively toying with horror conventions, Roxanne Benjamin ensures maximum impact when the terror begins; though the occasional awkward edit rears its ugly head. Anchored by a star-making lead turn and sporting superb sound design, Body At Brighton Rock is a bloody good time.

The direction keeps things visually engaging, and the editing is flawless. Sadly, for me, the stories don’t connect well enough to justify the whole fated aspect and all but a single song, in this musical, are some of the worst I have had to ever endure.

Instant Dreams makes a strong case for the necessity of instant photography. Its three main subjects are compelling and well spoken. The film’s powerful, hypnotic images, and the mesmerizing score only add to the dream-like atmosphere being conveyed.

As it stands now though, the acting is good, but the narrative moves like molasses, leaving the audience at a distance.

Long Lost, Erik Bloomquist’s feature-length debut is a confident, impressive mystery-thriller. The actors are amazing, the cinematography and lighting are great, and the directing wrings tension out of every scene. This is a thrilling watch that will get under everyone’s skin.

The Art Of Self Defense is set in a very peculiar world populated by eccentric characters. While that might turn some off, due to the vision of director Riley Stearns and his incredible production team, as well as a top-notch cast, the movie is as hilarious as it is unpredictable. It emerges as a strong early contender for best film of the year.