Bobby LePire

Overall, this is a strong feature debut for Alexander and Ford, but perhaps next time they can let a third set of eyes glance at the script.

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.

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.

Adult Children is funny and dramatic in equal measure.

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.

Tatsumi is a stellar work of genius on every level.

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.

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.

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.

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.

The cast is excellent, and the story structure is so unique that it is refreshing. Bareisa has taken the family drama formula and reworked it entirely into something heartfelt, heartbreaking, and utterly absorbing.

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.

Words of War is a solid drama about a remarkable woman.

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.

A Desert is a solid neo-noir with excellent visuals, good characterizations, and fantastic acting.

Overall, the film will please horror buffs, but casual fans or game purists should look elsewhere.

A Minecraft Movie is not funny, exciting, or clever.

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.

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

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

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.

Nosferatu is a failure on almost every level.

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

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

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.

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.

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.

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.

Sleep No More may not be flawless, but it is a solid and entertaining watch. The pacing is mostly excellent as things move so fast audiences barely have time to breathe. The cast is phenomenal and makes even underwritten parts feel whole. [2024 re-release]

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.

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.

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.

Apocalypse Clown is a little too serious to work as a comedy, and a bit too comedic to work as drama. But the writers have paid attention to their narrative and have ensured that every plot strand comes together at the end. Plus, the cast, especially Palamides, is really terrific.

The Last Stop In Yuma County is a stylish, great-looking noir with an excellent cast.

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.

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.

Despite missing some needed scenes to carry forward the lead’s emotional throughline, this is a good film that is sure to resonate with its core demographic.

Hard Miles is standard fare, but it is well-made. The cinematography is fantastic, capturing the rush of freedom a bike can offer. The score is also a great addition. The cast is solid, and the story is a sweet, engaging affair.

While Villains Inc. is overstuffed with ideas and story threads, it’s a fun and funny ride that’s worth your time. The cast, led by the ever-capable Everton, is a shining example of comedic talent. Each actor’s impeccable timing and seamless interaction with one another make for a delightful viewing experience.

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?

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.

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

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.

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.

Porcelain War is an engaging, timely look at art, war, homeland pride, and the resilience of the human spirit. While it is not subtle, it is impactful and never dull.

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

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

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.

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.

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.

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

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.

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.

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.

Five Nights At Freddy’s has flaws, but it is an excellent adaption. It feels like the game while still being accessible to any newcomers by crafting an original story.

Suitable Fresh is wild and weird, but it has something to say beneath all the kinks and mind games.

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.

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.

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.

It is a charming affair featuring a stellar cast with believable chemistry. Plus, there is enjoyment in getting to decide Cami’s fate and seeing where it takes you. I am going to rewatch this and choose another path.

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.

It’s beautiful and heartbreaking in equal measure.

The Last Autumn is a marvel to look at. The powerful imagery immerses audiences into a world most don’t know about. In fact, there are times when things feel rather otherworldly.

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.

Cage and Kinnaman work well together, with the former being gloriously over-the-top and the latter keeping things grounded in a form of reality. All in all, this thriller works from beginning to end.

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.

It is all exciting and goofy and fun.

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.

Fangs Out is rough from start to finish.

The story structure and characters are compelling, while their actions are intentionally offputting. Plus, the meta-angle isn’t overplayed and is used just enough to make everyone watching question where the plot will go next.

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

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

Bhagwan Bharose fully envelopes everyone watching into its character lives.

Employee Of The Month ratchets up the zany antics into a thrilling and hilarious conclusion. By the end, the point the filmmakers are driving home is well made and never feels didactic. The cast is great, and the ending is pitch-perfect. So get ready to laugh until your sides hurt.

Caviar is an audacious first feature. But King’s confident direction and bold storytelling give way to a thrilling experience. While the deepfake technology ranges from good to not, the cast more than makes up for it.

Assassin is an engaging look at the pursuit of revenge despite its cost to one’s soul and mind. The cast is excellent, and the dialogue is clever. While the plot isn’t strikingly original, nor is its twist, there is still plenty of fun to be had. Plus, it is nice to see Willis giving it his all for one of the last times.

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.

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.

Bunker is a gripping little thriller with solid characters and impressive visual flair.

Swallowed features great acting, especially from Malone, and a truly intense final act that must be seen to be believed.

In the end, In His Own Words: XXXtentacion does a fabulous job of allowing the subject to speak their piece. X had been through a lot and hoped his challenges could help others. The rapid way his fanbase grew showed he was right. Steele and Stone do Onfroy’s legacy proud with a thoughtful examination of who he truly was and what drove him.

The emotions of 200 Meters are honest and felt in almost every scene.

Most of the cast is excellent, and the writing is very clever. Couple those elements with the fun, cartoony animation, and one gets a pleasing little family film that, thankfully, does not fit into a specific mold.

I Get Knocked Down is lively and fun. It examines one of the odder songs to become a phenomenon with humor and surprising profundity. Plus, afterwards, you’ll have one helluva song stuck in your head.

This “horror” (used as loosely as possible) debut will only frighten people who get startled by their own shadows every day, as it’s just a slog into nothingness.

Spaz does not break any ground in terms of style and technique. However, the main subject is fascinating all on his own, and his story is equally as compelling. The good, the bad, and the ugly are presented here for everyone to consider and draw their own conclusions about Spaz’s work and temperament.

The Friendship Game is deplorable from beginning to end. Fans of Peyton List may get a small amount of enjoyment, as the actor is good. Unfortunately, she’s the only worthwhile part of the film, as the direction, editing, and cinematography are woefully incompetent.

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.

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.

While the familial drama is more engrossing than the terrorist plot, Deierling is at least ambitious and swings big. Plus, the acting is superb, so the two halves still work together.

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.

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.

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.

Ten Tricks is a sweet, goofy little comedy about sex. If that or any of the stars appeal to potential audience members, then prepare for a sexy and silly time.

The movie is never funny, scary, spooky, or interesting. Bakalova and Davidson are trying their best but cannot buoy the picture. Badly lit, poorly shot, and sporting even worse dialogue, the film offers nothing to anyone, though it thinks it has something important to say. Pretentious and dull is the worst combination.