Bobby LePire

Bhagwan Bharose fully envelopes everyone watching into its character lives.

Doff balances tones amazingly and directs visually striking scenes with gusto and confidence. His writing subverts expectations while remembering to be a story about humans, all the while being an exciting, nonstop laugh riot. All that makes the film more than worth watching. Then you add this truly outstanding cast who effortlessly embody their characters, and you have nothing short of a masterpiece.

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

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.

The Pez Outlaw has something for everyone. It’s a crime thriller, rom-com, family drama, corporate espionage flick. It is also a sincere and loving look into the Pez collecting community, which is full of the sweetest people imaginable. This is the kind of film you’d show to someone who doesn’t like documentaries to change their mind. It is that good and powerful.

Tatsumi is a stellar work of genius on every level.

Thanks to the incredible editing and score, the story never loses momentum. In fact, due to real-world parallels (as a part of the plot is based on true events), Enola Holmes 2 offers more intrigue and danger than the original.

Blood Relatives is a blast from start to finish. Noah Segan orchestrates a strong sense of atmosphere while still focusing on well-developed characters. His screenplay is whipsmart, while he demonstrates an excellent command of tone.

The director walks the delicate tightrope of emotions so that every new development makes previous scenes all the more intense

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.

The talent on display from the artists involved is incredible, the history of taxidermy is informative, and that it touches upon several different kinds of taxidermy make Stuffed an invaluable resource.

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

Adult Children is funny and dramatic in equal measure.

Once Upon A Time In Uganda is a triumph on all levels. It is filmed with style, follows immensely likable people, and has an infectious, exuberant spirit that is impossible to resist.

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.

Are You Lonesome Tonight? is a masterclass of cinematic storytelling. Every element works together to enhance and build up each other. This might be Wen’s first feature film, but it heralds a top-notch director with a lot of swagger and much to say.

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.

It is all exciting and goofy and fun.

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.

Minghella’s incredible directorial debut is a technicolor, neon-drenched fever dream. It is told with remarkable visual prowess, jaw-dropping editing, a soundtrack to die for, career-best performances from its central cast, and most importantly, heart. This is not to be missed.

Bad Times At The El Royale is creepy and mysterious in all the right ways. The tension builds as the non-sequential story allows the pieces to fall into place in mesmerizing fashion.

To be perfectly honest, as a movie Ernie And Joe is a somewhat routine affair. Follow subjects, interview subjects, point, shoot, move on. And most of the time that would be a problem, creating a lack of engagement or energy. However, McShane is intelligent enough to realize that trying to add pizazz to what is being portrayed here, especially in this particular climate of police relations with citizens, would ring hollow. ... Ernie And Joe struck a deeply personal core with me, as I am sure it will with most audience members.

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.

Miller’s Girl is a stunning debut from Bartlett. The plot is winding and intriguing, with an absolute gut punch of an ending.

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.

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.

Mickey And The Bear is remarkable, maximizing its heartbreakingly honest script and emotional directing. Bolstered by a phenomenal cast and an ending that will leave the audience breathless, there is not a single misstep in the entire production.

It’s gripping, reflective, dramatic, and even a bit humorous.

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.

Izzy Gets The F*ck Across Town is as delightfully offbeat as the title suggests, with an engaging and heartfelt story. Smartly written with stellar acting and deft direction, this hilarious movie demands to be seen as soon as possible.

The screenplay has a lot it wants to say and does so in a fun, murderous way lined with wicked humor. All the actors understood the assignment and successfully pull off their roles.

This is one of the best films of the year.

Sunlight is delightful, dramatic, and deep all at once. The pacing is excellent, and the screenplay is clever. Conti and Allen bring a great deal of sweetness and vulnerability to their respective roles. The ending is about as perfect as conclusions get. Please watch this as soon as possible, you won’t be disappointed.

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

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.

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

West’s bold, stylish direction and brilliant use of color and shadow push Pearl into a whole different level of horror. Goth carries the picture with a bit of acting that is subtle and over-the-top at the same time. How? I don’t know, but I know it works wonders.

Skywalkers: A Love Story is riveting and engrossing. The cinematography is beautiful, capturing the wonder and danger of being so high. The editing is sublime.

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.

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.

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.

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.”

Veni Vidi Vici is doing a lot, but the filmmakers make it all work. Their strict control of the comedy hits the perfect dark tone. The cast is tons of fun, while the writing is a sharp takedown of politics and power in modern-day Austria.

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.

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.

The comedy and drama balance each other well, while the varying styles create a wholly unique work of art that perfectly captures the uncertainty of the beginnings of quarantine.

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

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.

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.

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.

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.

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

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

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.

Move Me No Mountain is an emotional ride that exhilarates as much as it moves. The performances are perfect, and the story is heartbreaking.

Travel Ban: Make America Laugh Again is frustrating to watch. Not because it is poorly made; it is not, quite the opposite in fact. Instead, it is frustrating that in this day and age, a person still has to fight for their right to be considered a human being. As this film proves though, comedy can combat bigotry.

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.

LaBute rewards patient viewers with two amazing lead performances, crackling dialogue, and genuine suspense. While the film might be flawed, it is imminently watchable.

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 Mother And The Bear is a very different spin on the romantic comedy and self-actualization tale. By combining the two, Johnny Ma creates a distinct and engaging story. It is led by the brilliant Kim Ho-Jung, who is aided by a wonderful supporting cast. The music also does a lot of heavy-lifting, emotionally speaking, and everything just comes together in a truly sweet and life-affirming way.

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.

e-Demon is original, told in a striking, engaging manner, with stellar acting, and a good number of scares.

Good One is a carefully crafted character study. It’s brought to life by perfectly calibrated performances, led by the young but brilliant Lily Collias. This is one hike everyone should experience.

That the documentary tells a wild, true story full of twists and turns and is populated by flawed but likable people makes it all the better.

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.

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.

The Substance is flawed but only because it is so ambitious. Fargaet takes the entertainment industry down a peg while still being very entertaining.

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.

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.

The power of Cadejo Blanco comes in its mystery and reveal. As such, don’t look much into it; don’t even watch a trailer. Instead, let the story wash over you and be awestruck by the impressive talent on display.

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.

Hunter Her, Kill Her is an intense thrill ride that will leave everyone watching on the edge of their seat. Terrazzino’s performance is stunning, as the actor easily handles every emotional beat and punch.

The film, directed by Harry Beaumont, is considered the first-ever musical, creating a template that is still followed nearly a century later.

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.

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.

It’s beautiful and heartbreaking in equal measure.

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.

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.

Monument is an engaging and dramatic look at an unknown true story. The cast is wonderful, led by an outstanding Mazzello, whose turn here shows why he’s been steadily working since he was a child. His co-stars are equally splendid.

Lie Hard might be slightly too quirky for those who prefer their films a bit more grounded and realistic. For everyone else, Niles and company have provided a fast-paced, witty, charming feature. If you want to laugh while still getting a slight emotional pull at the end, then look no further.

Into The Weeds is a most satisfying but frustrating experience. The satisfaction comes from how well-made and engrossing the film proves to be. The frustrations lie in the true story being documented.

Robin de Levita’s adventurous first film is a wild ride that goes for broke in all the best ways. As such, it should not be missed.

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

Vision Portraits heart lies within these stories, but its power stems from its style. The cinematography by Kjerstin Rossi and Mark Tumas is often obscured, fuzzy, out of focus, or so close it is uncomfortable.

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.

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.

Those expecting that a movie about an occult sacrifice to ever become scary will be disappointed with Extra Ordinary. The filmmakers use the trappings of that kind of film for an all-out comedy. Thanks to its nonstop jokes, strong, likable characters, and marvelous cast the movie is hysterical.

The cast is perfect in every way, and each actor brings the right amount of silly and serious to their respective role. This might not be quite as good as Kaufman’s beloved property, nor as brilliant as the stage musical, which remains the definitive distillation of Toxie’s antics. Still, it is a damned fun time at the movies with enough nods and references to please even the most diehard of Troma purists.

Peak Season is a well-written and engaging drama. The characters are likable and relatable. The three leads are perfect and play off each other wonderfully.

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

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

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?

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.

The Night Of The 12th will emotionally exhaust audiences and get under their skin with its haunting ending.

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.