Bobby LePire

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.

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.

Even at 81-minutes long, Poppy Field drags a bit in the middle. But, the story is important, the lead actor is stunning, and the direction is excellent. Overall, this is a revealing and riveting look at how countries are dealing with the LGBTQIA+ in the worst possible ways.

My Dead Dad could have been histrionic, filled with overacting, based on just its plot synopsis. However, thanks to carefully written characters, an excellent cast, and some jaw-droppingly inspired editing, the drama finds the truth in the small moments between people.

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.

The finale of Zero Avenue is as brutal and wild as one would hope. Even though the first five minutes are a little patchy, the rest of the film easily overcomes those issues. The two leads are great, the plot is very original and exciting, and the director maintains a tense atmosphere.

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.

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.

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

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.

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

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.

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.

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.

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.

Bhagwan Bharose fully envelopes everyone watching into its character lives.

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

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.

Fangs Out is rough from start to finish.

It is all exciting and goofy and fun.

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.

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.

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.

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.

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 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.