Brian Farvour

Revenge is often described as a dish best served cold, but with the way Mayhem! draws audiences into its compelling story, this film is white hot, and reminds audiences why revenge is on the menu in the first place.

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

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.

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.

It’s hard not to smile as Chicken Run: Dawn of the Nugget wraps things up, even if said smile comes unexpectedly; admittedly, this is the sort of surprising delight that serves to both remind an audience why the original remains such a gem while acting as a worthy successor.

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 may be straightforward in execution, but the care dedicated to bringing “Serious People” to life is just as evident.

Finding ways to cope with any significant tragedy is hardly new, but in the hands of Foy and Lowthrope, it is.

This film stands comfortably alongside its ancestors, a perfect detour in a time when it’s most needed and a wonderful experience overall.

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.

In the midst of our planet’s ongoing chaos, to see a beacon of light emerge from within doesn’t just make for a compelling film. It’s a message of hope, a story found alongside countless others scattered throughout the rubble of war.

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.

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.

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 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

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.

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.

Nothing here could be considered a dull watch, and if it leaves the viewer thinking about how we, as a society, treat one another, it could very well be a lesson learned.

Director Sarah Dowland doesn’t tackle “In the Clutch” in a manner that makes any sterling advances in the world of documentary filmmaking, choosing instead to play it safe and allow Bird’s journey to do the talking, but that in and of itself remains enough to more than power the film.

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.

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.

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.

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.

As a showcase for the talent that is Elizabeth Banks, in addition to its existence as a thought-provoking exploration of the field of medicine and the human side of patient care, it’s an undeniable victory.

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.

Oxygen may not be the most unique film, but its terrifically panicky and suffocating qualities will leave you breathless nonetheless.

An admirable effort with just enough charm to keep audience interest where it needs to be with an unfortunate handful of shortcomings that ultimately relegate this film to the realm of average.

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.