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.

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

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.

Survive The Game may tell an oft-told story, but the script avoids most well-worn tropes in favor of a no-frills actioner. Said action is exciting and fun throughout, as the game cast (especially Murray and Ward) capably bring the proceedings to life.

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.

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.

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.

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.

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.

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

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.

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.

The Aviary is a stunning work of art about how people get sucked into something offering a glimmer of light and how that light becomes distorted.

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.

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.

The core cast, Pine and Foster especially, are superb, while the screenplay gives them plenty to chew on. At a quickly moving 105 minutes, the film is worth the time investment.

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.

You Are Not My Mother burrows underneath the nerves and stays there. It accomplishes this thanks to the amazing cast and strong visuals, which are ideally suited to the intense material.

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.

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.

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

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 characters, a great cast, and one bonkers-in-the-best-way finale, the film is sure to please undiscerning fans that just want to have a bit of cool-looking fun for an evening.

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.

The direction keeps things moving along nicely, while the cinematography makes the whole production look bigger and slicker than it would come across otherwise. Couple that with a decent script and two strong lead performances, and one gets a fine entry into the survival-thriller genre.

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.

Fortunately, the core cast is phenomenal, especially leads DiCaprio and Lawrence, who are both luminous and effortless. Combine that with the fantastic editing and the jaw-dropping ending, and one gets a flawed but entirely worthwhile viewing experience.

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.

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.

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

Red Snow is a lot of fun. The two leads are well written and excellently performed. The jabs at traditional vampire lore prove to be most amusing. While it never becomes creepy, the film still is an absolute blast from beginning to end.

This Is Not A Story boasts stunning acting, fantastic music, a heartfelt plot, and impeccable directing.

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.

It is an anxiety-inducing production that is bolstered by the astounding performances of Patric and Krause. While the ending is weak, two-thirds of the film works so wonderfully it is still worth watching.

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.”

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.

Cinderella fails spectacularly on just about every level.

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

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.

Hero Mode might make some adult viewers roll their eyes or just groan with its misunderstanding of technology. But the screenplay offers up some genuine laughs along with a general sweetness making it great for viewers of all ages.

Billie Piper’s first feature-length movie as screenwriter and director may have bitten off more than it could chew, but it is a daring debut that marches to the beat of its own drum. I respect it for that and enjoyed it more often than not.

The Resort takes a while to get to the good stuff, and the rhythm is interrupted every now and then. But the scares are effective, the cast does what they can with the material, and the cinematography is great. The island and the resort are captured well, and the strong reliance on setting does help smooth over some of the bumpier spots.

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.

Even though the screenplay does not explore every character’s backstory enough to work fully, the film is still an engaging coming-of-age story with an utterly brilliant ending.

Painkiller hammers its message home, which might frustrate some viewers. But, the direction is good, the action exciting, the story interesting, and the score is beyond stellar.

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.

The Djinn is scary and harrowing with a shocking and impactful ending. The acting is perfect, and the visuals are a masterclass in creating tension.

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.

Safer at Home starts on an off-putting note, and the epilogue muddies the timeline to the point of confusion. But, nestled between those two baffling sequences lies a gripping thriller brought to life by astute direction, an intelligent screenplay, and a great cast. While not perfect, this independent production is still worth an adventurous audiences’ time.

As a celebration, the documentary is an uplifting and joyous experience filled with amusing stories and engaging anecdotes.

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.

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.

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.

For its searing look at mental deterioration in solitary confinement and ingrained racism in the prison system, Caged is an absolute must-watch, minor flaws and all.

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.

Halloween Party is not scary, and as a horror movie, that is a problem. But, the characters are engaging and fun, brought to life by a wonderful cast. And the directing and writing are excellent, so there’s a lot for eager audiences to take in. Just go in expecting an engaging mystery, not scares, and you’ll be fine.

Braga’s direction is so bland and tension-free it could not make a cat jump into a tree. The cast all try their best, but only Robertson comes out unscathed. There is not a single reason to ever watch this movie.

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.

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.

An absolute must-see so that the sins of the past do not doom our future.

Max Reload And The Nether Blasters is terrific fun. The acting is great, the action is fun, the dialogue humorous, and the plot original.

Thanks to an impeccable cast and a more substantial, interesting second half, the movie is worth watching at least once.

The Cuban does not develop everything in its screenplay to complete satisfaction. But what’s there is very good and believable. Combine that with the jaw-dropping directing and visual style, along with the pitch-perfect cast, and you are left with a compelling drama that is well worth it, flaws and all.

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 leisurely directing allows the strong characters and their quirks to remain the focus throughout Deany Bean Is Dead. Coupled with Volk’s excellent lead performance and fun flourishes, the movie is never out and out hilarious, but it is an endearing, droll watch that will put you in a good mood.

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

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

Levin has proven a great director with Union Bridge, sadly, the story he is telling needs work.

1BR has a lot to say about what a person is willing to sacrifice to be happy and if said sacrifice is worth it. It does so effectively and intensely, with a smart script, a few plotholes aside, and excellent directing. The acting across the board is terrific, and the culmination of Sarah’s tumultuous journey during the berserk ending is well worth taking.

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

The direction is stylish, the soundtrack is excellent, and all the actors are phenomenal. Yet, the screenplay focuses on two of the most self-centered people I have seen in a long time. As such, it is difficult to truly enjoy the movie on the level it wants you to.

Camp Cold Brook accomplishes a seemingly Herculean task. It manages to make both slasher flicks and movies centered on paranormal investigations feel fresh without being a deconstructionist take.

The biggest problem with the movie is that it fails to explain the complicated theories and formulas in a way that makes sense.

Thanks to a committed cast and an amusing screenplay that works more often than not. Reality Queen! proves to be a charming affair. Mix in the surprising amount of depth mined from the brilliant ending, and despite its issues, this mockumentary proves worth a watch.

Aside from a decent cast trapped in a shoddy everything else, there is nothing to recommend here.

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.

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.

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.

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.

All of this is goodwill, and food for thought is squandered with the third chapter follows Orin. Without getting into spoilers—He ruins the movie.

Brian Presley wrote, directed, produced, and stars in The Great Alaskan Race, and his reverence for the dire situation and heroics of the mushers are evident throughout. However, passion alone does not make a good movie.

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.

I loved the acting, the cinematography, and individual sequences work stunningly. The whole does not equal the sum of its parts.

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.

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.

If you did not enjoy Iron Sky, then its sequel will not sway your opinion of the franchise. Iron Sky: The Coming Race doubles down on the ridiculous antics and significant action setpieces. The spectacle of it all is even grander than the first; just remember that the characters are not. For fans, it is precisely the follow up they have been waiting for.

While there are flaws in some of the segments, it is overall a fantastic production that manages to be creepy as hell. For fans of anthologies, these directors, and horror in general, this is a great ride.

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

The last 20-minutes of the entire one hour and twenty-seven minute run time really work and successfully make the case that as much as the humans rescue the cats, it is also vice versa. It is just too bad that the first hour does not reach those same heights.

Lost Angelas is neo-noir romance filled with engaging characters, intense action, a thrilling mystery, and a lovely romance to top it all off. The directing, acting, and especially the cinematography synch up perfectly for a pulse-pounding film, that works wondrously.

Dead Trigger isn’t the worst film ever, but it oddly plays things safe. The characters have no discernible personalities, the story threads are very familiar, and the action is as generic as you can imagine. There are still only three good video game movie adaptations, and this is not one of them.

Thanks to immaculate design and puppetry work, amazing acting, and a fully realized, vividly crafted world Yamasong: March Of The Hollows is a spellbinding adventure.

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.

Provocatively toying with horror conventions, Roxanne Benjamin ensures maximum impact when the terror begins; though the occasional awkward edit rears its ugly head. Anchored by a star-making lead turn and sporting superb sound design, Body At Brighton Rock is a bloody good time.

The direction keeps things visually engaging, and the editing is flawless. Sadly, for me, the stories don’t connect well enough to justify the whole fated aspect and all but a single song, in this musical, are some of the worst I have had to ever endure.

Instant Dreams makes a strong case for the necessity of instant photography. Its three main subjects are compelling and well spoken. The film’s powerful, hypnotic images, and the mesmerizing score only add to the dream-like atmosphere being conveyed.

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

Long Lost, Erik Bloomquist’s feature-length debut is a confident, impressive mystery-thriller. The actors are amazing, the cinematography and lighting are great, and the directing wrings tension out of every scene. This is a thrilling watch that will get under everyone’s skin.

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.

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.

The talent on display from the artists involved is incredible, the history of taxidermy is informative, and that it touches upon several different kinds of taxidermy make Stuffed an invaluable resource.

Dead Ant is not quite the slam dunk it could be, based on its concept and cast. However, the faults don’t deter from the sheer fun and energy of the production. Combine that with the very game cast, led by a dynamic and lively Jake Busey, and you get a recipe for a good time.

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.

Pet Sematary balances humor, drama, and horror believably while exploring the inner turmoil of a seemingly ordinary couple; though the script does not go far enough in establishing their new life and dodgy special effects hurt some scenes. Happily, the cast makes up for these flaws with great turns, lead by Jeté Laurence, whose performance is reason enough to watch the film.

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.

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.

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 Beach Bum is not a terrible movie. The directing is competent, the score is excellent, and the cast is game and hilarious. However, considering who was at the helm, it is not focused enough and winds up with nothing to say.

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.

Minghella’s incredible directorial debut is a technicolor, neon-drenched fever dream. It is told with remarkable visual prowess, jaw-dropping editing, a soundtrack to die for, career-best performances from its central cast, and most importantly, heart. This is not to be missed.

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.

As it stands, despite an impressive cast and gorgeous cinematography, there isn’t much to hold the viewer’s attention.

The documentary is a life-affirming piece of filmmaking that will paint a smile on your face and leave a song in your heart.

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.

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.

American Hangman makes a mystery out of a few things that are too easy to guess, so it takes a while to get going. However, thanks to sharp direction, an original take on the dramatic police procedural, and a truly excellent, very game cast, the movie is a worthwhile 100-minute watch.

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.

Goodnight, Charlene is decently directed, beautifully lit, and most of the cast do well all things considered. However, two of the leads are quite dull, the script is trying too hard to be duplicitous, and winds up going nowhere all that compelling.

It helps immensely that Hart and Cranston play off each other well; or at least when the script is not getting in their way.

Unbridled tells a conventional story, but it adds enough new twists to prove engaging. The acting is strong and the direction assured, so even when the script drops the ball, there is still a reason to remain invested. Plus, the ending is genuinely heartwarming and cathartic. Not all dramas achieve that.

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.

While a few flaws are present, the directors and screenwriter deliver a high energy bloodbath with several creepy scenes, excellent puppetry work, and a cast that shines brightly. It is well worth a watch, and I greatly look forward to a sequel.

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.

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.

Interviewing prominent politic figures, business executives, teachers, and everyday citizens with big dreams, the documentary finds the humanity that unites all the globe.

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.

Bad Times At The El Royale is creepy and mysterious in all the right ways. The tension builds as the non-sequential story allows the pieces to fall into place in mesmerizing fashion.

The directing style of Strange Nature fails to bring any atmosphere, the acting is so nondescript that it barely registers (with two notable exceptions), and a lack of cohesive vision leaves the movie uncertain of what it truly is. An absolute waste of time for all involved, especially the audience.

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

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.

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.

This isn’t a movie, it is anti-cinema; an endurance test to discover how malleable a human’s brain is.

It is a documentary that shows the passion one entertainer has for one of the most iconic singers of all time. Davi’s drive to see it happen is what keeps the audience engaged, and the discovery of his singing voice is worth the time to watch the movie all on its own.

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.