Jared Mobarak

Bouwer utilizes a memorable aesthetic (think Annihilation) that personifies nature while also reducing humanity to its base yearning for satisfaction. And Kapp renders it all part of a bigger scheme revealed through dream-like trances stripped of subterfuge and hope of escape.

Director Jeanne Leblanc and co-writer Judith Baribeau pull no punches in portraying the malicious underbelly of the town at the center of Les nôtres.

The delineation between good and evil maybe a bit too black-and-white throughout, but none of those aspects remove the potency of the lessons learned along the way.

With excellent archival footage, first-hand accounts, animated portraits curated with relevant quotes, historians providing context, and the contemporary pursuit for justice, Rise Again proves itself to be an extensive deep dive into a subject that needs to be taught.

It’s using a taboo topic to compare/contrast how those existing within it can be angel and/or demon. It’s not, however, trying to comment on that topic, so don’t expect a message movie. This is a genre film utilizing its subject matter as a springboard towards drama.

The funny thing is, though, that it does somehow work despite its flaws. Its A-to-B propulsion added onto Maikranz’s environmental framework might be basic and familiar, but it gets us to the end without too much manipulation.

We feel the futility of this reality with every exasperated sigh Blaze lets loose and defeated look that escapes Ruth’s usually stoic demeanor.

The Dry reveals itself as an engaging thriller in the vein of fellow Australian production Top of the Lake with duplicitous figures sharing a contentious enough history to confuse facts with emotions thanks to having a familiar face heading up the investigation.

The visuals ooze creepiness, even if the payoff doesn’t arrive until the very end.

The title De forbandede år [Into the Darkness] isn’t therefore solely about Hitler’s shadow absorbing Denmark into its empire. It’s about the insidiousness of white supremacy consuming those who believed themselves immune days earlier.

The Oak Room is playing games with us as well.

By spending time with both sides, Five Years North (titled after the period of time many Guatemalans stay in the US en route to making money for a planned return) is able to foreground its big takeaway: privilege.

Verma and Moroles stick together even when things get too crazy to believe—each ready to take a bullet for the other if necessary. Their comedic timing is only outdone by their authentic, heartfelt terror about the unknown. Never let your fear of what others might think outweigh the fear of letting it dictate who you become.

Real heroes are always one misstep away from being the cautionary tale they hope to prevent others from becoming. That’s why Hanif’s story is worth telling. That he can flirt with relapse, hit emotional brick walls that would defeat the best of us, and still look beyond today to realize the value of his life and that of those battling alongside him regardless of age, potential, or opportunity is why he’s an inspiration.

I wonder if the budget was perhaps too small to overcome since every moment The Djinn appears ready to transcend, it tragically deflates. Or perhaps its conceit deserved short film status instead. Going beyond twenty minutes simply isn’t viable.

Chavis and Miller excel at living in the complicated areas of their characters’ psyches and the supporting cast doesn’t miss a beat in allowing them the room to do so, I think Oyelowo’s refusal to go all the way with the fantasy makes what little there is trivial.

Moya has a great eye for locales and his production and art designers go above and beyond utilizing what Eastern Europe has to offer.

The After School Special vibe at the back of Marshall Burnette’s Silo isn’t a bug. It’s a feature. Because beyond creating a captivatingly suspenseful premise with which to build a plot, grain entrapment is a significant enough issue to demand a path towards awareness as much as cinematic entertainment.

The result is entertaining satire with a dark edge of relatable excitement.

For director Inon Shampanier and co-writer Natalie Shampanier to tackle something so complex is therefore commendable whether or not Paper Spiders proves a complete success.

Picking one direction and sticking to it may have served the whole better, but at least these issues can be dismissed as hiccups more than deal-breakers. They hold it back without sinking it. Credit the actors for this truth because they ensure the fun never ends.

The seasoned director does a good job mixing in some kinetic action too, whether a high-speed car chase or multiple instances of one person desperately trying to shake off his/her assailants in pursuit.

The County shows that it only takes one person to beat the drum for change to occur. But it also posits just how sinister the opposition can be when its livelihood of means is threatened in the process. I think Hákonarson could have gone further with this aspect of the film because there’s some real suspense built as far as who should be blamed for the tragedy that sparks Inga’s crusade.

The ability to toe the line between those results isn’t something that should be undersold. Neither should the casting of McCarthy and Richings with their keen awareness to maintain earnestness despite the narrative’s tonal cartwheels that surround them.

It’s the story of a young woman coming of age against the backdrop of both the injustices of her family and country. The former is overtly portrayed by the events that lead Margo to run, but the latter is never far behind despite its more subtle inclusion.

Anyone who watches this genre will be able to guess what’s happening fairly early. It therefore becomes about the character. Liking him makes the journey worthwhile.

Crampton and Fessenden are great in their respective roles both when the drama asks them to grab our attention and the comedy asks them to goof around

People who like this type of film will have a blast while those who don’t are caught glancing at their watches in hopes the end is finally near.