Brian Farvour

This is far from the sort of cinematic experience one revisits time and time again, and it’s clear that’s not the intention; one viewing is all it takes to leave a lasting impression, like the simple memory of a young girl dancing with her dad.

Don’t expect the film to live up to its title. Don’t expect Marczak or his subject to find a way to tie up every loose end. Take in a difficult period in the life of a grieving father, unable to let go. It’s straightforward, sad, and somehow beautiful.

It may seem like bias runs rampant, but that couldn’t be further from the truth, as Osit tries to answer his questions while looking behind the scenes in a manner that could if nothing else, showcase the obvious spin of mass media. In looking back at “To Catch a Predator,” Osit takes a look at much, much more.

The haunting atmosphere of The Girl with the Needle lies in equal measure with the acting masterclass that serves as the film’s primary source of fuel.

Ito’s presence propels the film; her passion, vulnerability, and resilient strength are the film’s most compelling components, as they should be, and it’s hoped that the closure she’s pursued finally found its way to her.

There are some well-shot fights, even some decent use of weaponry to further ramp up the intensity a bit, but for a movie that wears its action ancestry fully displayed on its sleeve, more was expected.

Awash in the chaos is a real sense of life continuing as it’s always been, even amidst the bodies at which Gutnik isn’t afraid to point the camera or the sad reveal of how the Ukranian tongue has been suppressed.

There’s too much good here that doesn’t deserve to be overlooked, and this is where the film misses the mark.

The beautifully animated road comedy The Mitchells vs. The Machines manages to take the genre and, while admittedly dipping its toes in the murky waters of cliché more than a few times, offers enough of a fresh take to provide a breezy escape during the near-two hour journey that unfolds.

Even though Exhuma may exist as a wellspring threatening to drown in ideas possibly better suited for multiple films, Jang Jae-hyun has still managed to bring to life a compelling story about something that should remain dead.

There’s no time like the present for a viewing of The White House Effect, and there is no wrong audience, no one immune to the presence of climate change. For those who already know, take it in. For those on the outskirts, you might wonder if it’s needed. It is.

It would be easy to turn “Ricky” into something more, a commentary on recidivism and the hardships of a criminal coping with life in this day and age. Still, by only touching on these, a simple story performs the heavy lifting, unfolding as it does. We want to hope for Ricky, cheer his successes, and wish him a better life, not only for Ricky but for all those who are the same.

Copa 71 may be just another documentary, but in telling the story of the 1971 Women’s World Cup, it is absolutely a success.

The resulting film is truly as real as it gets. For a movie about the apparent world beyond our own, that’s saying more than any psychic could ever predict

It’s a unique profile of Matlin, and by incorporating a wealth of her similarly deaf friends, the film sits in stark contrast to its contemporaries; when any interviewee uses sign language, and the sound drops to near zero, it’s hard not to feel all the more engaged.

Sujo may not be a movie with which everyone will connect or find a wealth of relatable aspects, but the quality on display is enough to warrant a view.

There’s no question as to the compelling way in which McCollum goes about his journey, less a tent-style preacher barking commands at a receptive crowd but rather a kind individual with nothing more than the belief that his life has a larger purpose. The bigger questions remain unanswered, but just as the film’s title carries a question mark, was that ever the point?

Liza: A Truly Terrific Absolutely True Story serves as an introduction to the entertainment legend or a reminder of all that happened to cement her status as more than a mere performer, this film deserves to take a bow.

For all its faults, whether intentional or otherwise, the ending still manages to stick the landing, in all its strange glory, resulting in something that must be seen; that said, it’s not to be believed, but rather to appreciate, as tricky as that may be.

The frustration of watching Drew’s journey unfold makes for a unique viewing experience, and whatever it is he seeks in life, I hope he one day finds it.

She Rides Shotgun sits as a perfect example of every filmmaking ingredient coming together beautifully, balanced in a way that would make Thanos take pause, and as much a showcase for the talent onscreen as for those working to fuse this film’s take on the world that is the neo-western. There’s plenty here to keep eyeballs glued, and every scene gets better.

Porcelain War tries its best to turn attention toward a trio of artists as they attempt to find some equilibrium between the art they love and the battle at hand.

For decades, cryonics were believed to be the key to immortality, with mind transfer pioneers such as Ray Kurzweil eventually leading the charge in a different direction, but as ChatGPT becomes as commonplace as a text message and the path to computer-based divinity continues to shorten at a shocking rate, films such as this become even more vital.

Whether a viewer might be a fan of Wham! or not is ultimately irrelevant, as Chris Smith has produced something as incendiary as any of Wham!’s hits.

Hanging By a Wire is a nail-biting watch, one that never allows itself to become bogged down in excessive setup or backstory.

Previously, the filmmakers Franz and Fiala brought audiences into “The Lodge,” and 2014’s “Goodnight Mommy” and “The Devil’s Bath” is their finest, possibly most upsetting work yet.

With nary a poor performance to be found and a tone that engages as much as it might cause one to shift uncomfortably in their seat, Bull is an engrossing experience. It’s not an instant genre classic but never strives to be, and in hitting such a simple goal, it, like Bull himself, somehow succeeds.

McKenzie may frame the journey with some bemused curiosity, but the movie lands somewhere much angrier than that. Fair enough. A system this shady doesn’t deserve awe. It barely deserves the dignity of confusion.