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.