Bobby LePire

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.

Dan Habib certainly has noble intentions in mind with Intelligent Lives. The energetic, ambitious young people at its core are a joy and discovering where they wind up is sweet. However, the documentary never goes far enough to explain vital elements in the civil rights advancements for those with disabilities, and the directing style fails to generate forward momentum.

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.

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.

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

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 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.

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.

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

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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

Time Trap is highly creative, populated with relatable characters, with a whip-smart script. Sadly, the very end of the movie undoes the tense atmosphere setup throughout. While it does not ruin the film, it does leave one a bit disappointed.

Saving Brinton loses focus a few times, but its noble heart will keep the viewer engaged. Zahs is an affable chap, and his love of history is remarkable. His quest to save Brinton’s collection is an enjoyable one that will leave the audience happy and with a deeper affection for the way these films were shown back in the day.

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

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.

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.

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

Nosferatu is a failure on almost every level.

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.

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

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.

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.

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.

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.

This is one of the best films of the year.

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.

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.

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.

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.

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

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.

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.

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.

A Wizard’s Tale is blandly animated, badly edited, terribly, terribly written and its dearth of creativity hurts its core conceit. While most of the voice actors try their best, it is all for naught.

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 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.

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

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.

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.

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

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.

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.

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.

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.

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

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.

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.

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.

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.

It’s beautiful and heartbreaking in equal measure.

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.

The Quake hits a handful of the cliches one expects from a disaster film, as well as having one character’s death not mean as much as it should. However, thanks to strong characterizations and good acting the plot is still engaging. However, the reason to watch the film is the excellent cinematography and awe-inspiring effects.

Topical resonance is all that the movie musters, as it changes subject matter on a whim and doesn’t give the audience enough background information on the issues or the interviewees to make a whole lot of sense.

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.

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

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.

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.

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

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

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.

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.

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.

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 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.

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

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.

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.

Paul Solet’s Tread takes a little while to grab the audience; however, once the stakes are fully understood, it becomes quite intense. Plus, the way it plays with audience sympathy is genius, making for an involving watch.

Joe Cornish has pulled off a fantastic feat- a children’s fantasy adventure that balances the drama, action, and humor perfectly and will keep an audience of any age entertained through its entire runtime.

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.

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 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 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.

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.

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.

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.

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.

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

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.

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

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 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.

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.

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

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.

Villains stumbles early on. However, due to the precise editing, excellent design work, and a cast that knock it out of the park at every turn, the film is still highly enjoyable.

The Golem is creepy, as the cinematography is awash with atmosphere and the use of such a creature is interesting. The dramatic side of things mostly holds up as well, and when combined with the excellent acting, the movie turns out to be very effective and memorable.

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.