Bobby LePire

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.