Bradley Gibson

A dark, thrilling drama unfolds with these two spinning their own world on top of the grim reality of Gotham and Arkham.

Lanksy is a workman-like film with decent production values, but Rockaway is not Scorcese or Coppola. There are no great faults to find with it, except one: fans of the genre have literally seen every element of it before.

Willy’s Wonderland is a violent, glorious riot of inside-joke horror tropes and Cage’s own best tribute to a genre he helped to create.

The Almond and the Seahorse is filled with sadness and pain, but there are moments of sunlight and happiness, which is ultimately the most anyone can ask for in this life.

Films promoting self-improvement are suspect as they are prone to being preachy. To succeed, the filmmaker must create an experience so overwhelmingly entertaining the viewer forgets he/she is being improved upon. This film misses that mark, despite some engaging moments in the attempt.

Overall the pace is a little slow and the film is too quiet, but it’s definitely a notch above typical low-budget fare and entertaining to watch.

The dark comedy is subtle, but hilarious. Serious topics bubble up from masterful situational humor.

Call this “Film meh” instead of Film Noir. The only way it could be more pretentious is if it was in black and white. These characters are so unlikeable, you may find yourself hoping Margaret and Henry both get the shit kicked out of them for their arrogance and stupidity.

Speed of Life reminds us that the art of our idols, the fire, and the passion, survive the artist and that their immortality is you keeping that fire burning.

After We Leave is a shining example of indie filmmaking at its finest.

Return to Hardwick is a living, breathing moment from our past, reminding us what has been done, and what can be done.

The Departure is an entertaining film on the strength of the performances. If you enjoy “TMZ” style drama, you’ll need to watch until the end… despite the boys not behaving like men.

Antarctica is a rare gem that stands as one of this year’s best.

Coming Clean is an indictment of capitalism run rampant, and, once again, profit taking precedence over human life. Hats off to the frontline warriors taking on this cause.

Las Maravillas de Mali’s sound is reminiscent of another Cuban revelation, The Buena Vista Social Club, and the same fire burns here. At the heart of the film is the music, the gently driving beat that spins out joy and sadness, familial warmth and solitude, love and life.

WITCH: We Intend to Cause Havoc is a wonderful history lesson, as well as a lovely introduction to a band and their music that, perhaps, most people would never have heard otherwise.

Infinitum: Subject Unknown works as a scary, anxious thrill ride.

The suspense in Tailgate is cringe-inducing. Crijns keeps his foot on the gas for the entire runtime, artfully ensuring that neither the victims nor the audience ever gets a moment to breathe. Even with a premise we’ve seen before, this film delivers right up to the credits and beyond.

As family movies aimed at the tween demographic go, Dolphin Island is entertaining enough. The beautiful vistas could be a balm to anyone who’s thinking about the islands but can’t get there.

For a family film with after-school-special vibes, it lands exactly where it should. Dakota and Alex take center stage with a story and characters that are engaging for kids and make for distracting cinematic “comfort food” for adults.

In Santos – Skin to Skin, Golden weaves Santos’ colorful life story around Afro-Caribbean music to engaging effect.

Keeping Company is a delirious carnival ride at the intersection between rapacious greed and murderous insanity, and definitely worth your uncomfortable laughter.

The pace is tight, and the film’s last scene is a fantastic conclusion to the story: a little bit Telenovela, a little bit grindhouse, and 100% quality.

Despite, or perhaps because of, the graphic imagery, this feature is a brilliant look at obsession and the possible grisly endpoint of reductio ad absurdum.

While Actual People is not going to be for everyone, it does preserve a moment in time from Gen Z culture that informs and enlightens.

For Western audiences, Back to the Wharf is an engaging glimpse of daily life at the intersection of Chinese family culture and government corruption.

Montreal Girls is as much a visual and sonic poem as it is narrative storytelling.

The performances of the three leads and all of the cast are all solid and authentic. The film looks and sounds great.