Bobby LePire

Fangs Out is rough from start to finish.

It is all exciting and goofy and fun.

Camp Hideout is another fun feature from Sean Olson, who is quickly becoming the go-to filmmaker for solidly made, independent, family-friendly fare. The action hijinks are both exciting and funny. The cast is good, and the direction keeps the momentum at a steady pace.

Palmer keeps the jokes coming at a steady pace while the cast, especially Robertson, deliver hilarious and sweet performances. So don’t think about it too hard and have a good time.

Mercy Falls asks viewers to make a giant leap of logic to work fully. It makes everyone seem foolish for a brief moment. But the kills and action are brutal and intense. The cast, McKeown and Lyle especially, is giving it their all. The directing and cinematography show just how well Hendrick is honing his craft.

Trauma Therapy: Psychosis is poorly paced, with the interview interjections feeling tacked on and forced in (they were). That’s too bad, as the rest of the film is a creepy and engaging thriller about what it takes to break someone.

Brightwood rocks from beginning to end. The screenplay twists and turns and bends like all the best thrillers do. The direction maintains the mystery all the way through the surprising finale. The two actors are great and play off each other nicely. Elcar’s first feature-length film is one of the year’s best.

The Naughty Nine is a breath of fresh air from the usual holiday fare. Yes, it still has that feel-good message that so many Christmas titles have, but it goes about it uniquely.

Popular Theory is an amusing film with just enough heart to be more than a one-time watch.

578 Magnum does not tell a fresh tale, and the editing leaves a lot to be desired. But Dinh delivers where it counts: the action. The action scenes are stellar and will take the audience’s breath away. The cast is also great and delivers their martial arts with intensity.

Terezin is a compelling WWII tale that finds a new way to approach the evils the Nazis perpetuated upon an undeserving people. The direction is splendid, and the cast is magnificent.

Yuni is a beautiful, tender film with strong characterizations. The cast is excellent, and the subtle direction reinforces Yuni’s overwhelming feelings.

Easter Bloody Easter starts off rocky, and not every joke lands. However, due to the sheer number of punchlines, the hit-to-miss ratio is high. The leads thoroughly understand the material and deliver perfectly calibrated performances to match the intentional cheese of the plot. In the pantheon of Easter horror films, this is a good one to rewatch every spring.

The Brink Of is a darn good film. The cast is great, and the songs are even better. What more does one need from a dramatic musical romance?

Ruby’s Choice has a few issues that prevent it from being great on all fronts. But most of the plot is interesting, and the ending is perfect. The cast, led by a stunning Jane Seymour, excels and outshines the occasionally wonky writing and voice-over.

Gateway isn’t the next new face of horror. But it is a visually dense fright fest with a solid cast. While it is a little long, Owens proves he has what it takes to succeed.

Rally Caps works where it counts: the friendship between Jordy and his new teammates. The inspirational aspect pulls hard at the heartstrings because Cipolla’s script carefully sets up Jordy and his dilemmas.

The motion picture skates just above average, thanks to the well-done action and cinematography. The cast tries to overcome their underwritten parts but succeeds only some of the time. Grammer and Dauqin are very compelling, and fans of theirs will be pleased.

The cast is solid and matches the high drama of the story nicely. But the reason for checking this film out is the racing. The races are elegantly shot, tense, and breathtaking. Blatz’s love of motorcycles and racing is on full display and proves fun to watch.

#AMFAD: All My Friends Are Dead is a well-crafted horror comedy that provides a thoroughly enjoyable viewing experience. The cast brings their smartly written characters to life, adding depth and dimension to the story.

Little Deaths is an engaging little thriller with a great ending. While there are a few scenes that don’t wholly work, Romeo and Leotta keep viewers engaged thanks to their performances. The stellar music stands out as well, as does the final sequence which is more moving than expected.

Ingress is a bit of a slow burn in the first act. But as its strands come together and specific themes are honed in on, the story morphs into something remarkable and beautiful.

Voice Of Shadows takes a familiar premise and adds an original twist, creating a scary little mystery.

There are plenty of grisly and fun murders, and the effects are stellar. The cast, led by a terrific Holloway and an over-the-top Combs, is genuinely fantastic.

The Haunting Of Hollywood is effective when focusing on the characters and the horrifying and dramatic effects the past can have on people. The actors are compelling and deliver robust, humanized performances. For the most part, the directing brings forth the truth of the emotional baggage and trauma being dealt with. But when it goes into full horror mode, the style does not mesh and becomes jarring.

Lifeline is high-concept sci-fi, but it’s intensely dramatic and engagingly mysterious.

If you can see Run Tiger Run in its original Japanese language with subtitles, do so, as it will be an enjoyable time. If you can only see the dub, then note that there’s a lot to really like and appreciate, but the English voices are not one of those things. All in all, this is an exciting romp with good animation, only hampered by one poor element; unfortunately, that one thing is a big part of the film.

The Tundra Within Me is a conventional but good romance. What makes the film stand out is its examination of modernity versus traditions, nature versus nurture, and artistic pursuits versus practicality.

Forastera is methodical and observant, which are two of its greatest strengths. Iglesias is unhurried, allowing every scene to sit in the peaceful quiet before the storm of death shakes everything apart.

Brute 1976 is no X, but it is a solid if clichéd slasher. The cast is meh, with two exceptions, but the sheer amount of death and bloodshed provides a cathartic release. Then the ending happens, and the movie proves to have a shocking amount of staying power.

Tatsumi is a stellar work of genius on every level.

Esta Isla (This Island). is an excellent and absorbing drama. Its characters are well-written and behave in sensible and relatable ways. The cast excels at bringing authentic emotions and subtle details to the forefront, making everything as authentic as possible.

Adult Children is funny and dramatic in equal measure.

The cast is great, especially Vegha and Sligh, who craft realistic, believable characters. The editing is precise, though it interrupts the plot if the audience isn’t properly prepared for it on first viewing. Overall, the director proves he has what it takes to scare cinephiles, and he got a cast just as creepy as his plot.