Jared Mobarak

A unique hybrid wherein fact is projected through a prism of fiction as both a mechanism to educate outsiders and heal from within.

Dale is a force as he runs the full spectrum of emotions to reveal why he matters and why he must also be forgotten.

A walk through the woods is thus the scenario that brings up the two genres. Mona sees promise and excitement being alone with Faruk while he sees the shadowy unknown harboring monsters ready to pounce. The film ultimately exposes that neither is true thanks to Drljaca’s decision to keep things firmly rooted in the uncertain volatility of reality—these teens crossing paths creating as much room for strife as joy in the grand scheme of things.

It’s nothing short of heroic and heartbreaking and important—both because of how laws in her name are still being planned to go before the US legislature and because audiences need to remember that victims of domestic abuse deserve to be given as much benefit of the doubt as their abusers. Being an addict shouldn’t disqualify you from receiving life-saving protection.

Bad Education is a roller coaster ride from start to finish as the surface sheen of success is peeled back to reveal the proverbial bodies buried to achieve it.

Along with these first-hand accounts––and there are some spicy ones, considering the semi-final match between Italy and Mexico needed to be called ten minutes early after all hell breaks loose––the footage of the games themselves amaze too.

Sarnet orchestrates authentic horror through a supernatural filter wherein beautiful black and white cinematography can immortalize abject despair.

Vigalondo has a ton of fun with the premise of two worlds by changing both aspect ratio and fidelity.

Mahdavian gives us enough for context and motivation before letting Colie and Hollyn take over with their enthusiasm and love of nature, and this opportunity to absorb it on a level very few people can. Because it won’t last. Life will interfere. So embrace the awe without regrets.

Their newfound friendship strips them down to their raw humanity in a way that allows them to see each other like no one has ever seen them. They grow together, acknowledging self-destructive natures without passing judgment until inevitably unearthing the undeniable truths even they refused to see within themselves.

We read into what’s been provided in ways that resonate with us personally whether or not the resulting thoughts were consciously presented. We make films ours.

Angels Wear White becomes a bottomless pit of despair consuming complex characters with nowhere to go.

While Star and An fantasize and joke about wishing they could become trophy wives of old, their roads are not paved in gold. Having each other sitting shotgun, however, does make the trip a whole lot brighter.

Hamoud’s message concerns having the courage to be who you are no matter what society or heritage demands. Compromise is important in any relationship, but it shouldn’t be one-sided and especially not favor the man simply because the culture is steeped in patriarchal infrastructure.

It’s light, absurd, and very low-stakes.

This insane stable of A-list actors finally got to show their chops. Downey Jr. gives some of his best work during act one with Johansson, Renner, and Evans coming a close second to matching his pain as they try to lick their wounds.

What’s really great about Archenemy is that Mortimer never shies away from that darkness. By toeing the line of mental illness, he can expose the cost of comic book heroics and the evil being fought against.

One mystery is solved so another can begin without missing a beat as revenge takes on new meaning in the aftermath of its completion.

McCormack and Morgan aren’t interested in sanitizing the messiness that goes into a woman accepting herself outside the men’s world she was born into. It’s why finding financing took years. It’s also why Sugar Daddy is so uniquely good too, though. They’ve put an honest, coarse, and authentic human being on-screen who’s breaking through the façade she didn’t even know she was helping to cultivate.

Adapted by Anita Doron from the award-winning novel by Deborah Ellis, The Breadwinner delivers a heart-wrenching coming-of-age tale within a nation that’s lost its way.

The whole possesses a pretty consistent narrative timeline, each new step building off the last with more invasive measures keeping colonialists’ descendants fat and happy.

The pace might be slow, but it allows some great performances to breathe.

Iannucci is picking and choosing our alignments for us with his desire for as much humor as possible. Devoid of the breadth necessary to make these characters more than comic relief, however, it becomes difficult to buy the pursuit of David’s victory above all others.

Rather than showcase itself as a psychological puzzle, we’re left stumbling through a predictable shell game.

It’s a devastating, relatable performance by Ferreira.

The film presents itself as an objective look at everything that might go into a school shooting similar to Elephant but with a narrative propulsion that also seeks to subjectively give us reasons why. It’s a duality that can’t help but give someone pause, especially if that someone has his/her own ideas about what the “real” systemic issues behind these tragedies are.

The role of Alice is very much internal and, as such, very reliant upon putting her thoughts onscreen. That we can also see those thoughts in our own minds simply through Kendrick’s thousand-yard stares, moments of lashing out, and visibly draining anxiety is a testament to her commitment to the character and the script’s nuanced complexity to allow her to say so much without saying anything.

Schaefer and Lawler pack their rounded vignette of full-frame 16mm film with contradictions, thematic mirrors, and unexplainable phenomena that confounds in its beauty just as easily as it enlightens through its complexity.