Josiah Teal

None of the shortcomings diminish how ridiculous and darkly funny the narrative is from fade-in to closing credits. Bess and the cast take viewers on an engaging, comedic journey through making a deal with the demon, crafting an enjoyable reminder of how innovative indie film can be.

Didn’t Die is a hopeful zombie narrative with more than a few heartwarming moments and just enough quirk to earn its laughs.

Twilight of Warriors is one of the best action films of 2024 and one of the best martial arts films in recent memory.

Exhuma is a masterpiece of art-horror and South Korean filmmaking, ensured to enthrall viewers into repeated viewings and deep dives into each chapter.

It’s pure horror movie fun. Yet the relationships consistently raise the stakes and elevate the film from the “creature feature” label to the kind of thriller that becomes a fan favorite.

Despite a few bumps in the movie-making road, Reinoso has crafted a fun pop culture documentary viable as an exploration into the props fans love and an inspiration to future collectors.

The cast is a high point for the film, elevating the narrative and adding extra personality to each character.

The characters feel real, the performances are personal, and you really know each character by the closing credits. It’s not the most rewatchable film, but Under the Fig Trees will capture your curiosity and more than satisfy a need for an excellent character-focused drama.

Silent Night is held back by its time. In 2023, we’ve seen tons of Woo inspirations and imitators; even in his Hong Kong days, Woo could create action-filled cinema with some emotional resonance, but Silent Night can’t keep up. The final battle and stairway shootout save the film, but don’t expect the wall-to-wall action seen in John Wick.

In the Court of King Crimson: King Crimson at 50 is not an exploration of what was or who the band used to be, but rather a voyage into their present and future.

The film has an innate sense of wonder in every moving landscape, colorful character, or evocative performance.

The original films left kids with a sense of wonder, and while it does not entirely stack up to the original trilogy, this will still leave plenty of kids dreaming of slick gadgets and cool spy chases.

Casting and premise are Haunted Mansion‘s greatest strengths, though many of the best ensemble moments or narrative choices are fleeting.

Higuchi’s knowledge and commitment to the lore, franchise, and Toku genre make Shin Ultraman a must-watch for fans. The film balances classic tropes and introduces new characters in a format allowing any newcomer an ideal entry point into the many Ultra-verses. It’s a masterclass on reintroducing a beloved character while keeping the overall legacy in mind.

Even in the more chaotic moments, the filmmaker still delivers a beautiful, exciting, and interesting movie in a way only Wes Anderson could.

Mangold attempts to send Indy on one last adventure but never recaptures the glory days of searching for the lost ark.

Due to the lack of immersion in the Ape community, this often feels like a finance doc with a few fun moments rather than the story of Apes who conquered Wall Street.

So much of Art for Everybody follows a traditional rise-to-power and fall-from-grace structure. The story gives equal time to Kinkade’s adoring friends and his harshest critics while allowing his family to serve as both. Yousef never tries to immortalize or romanticize the painter but instead focuses on the person and his path to the limelight.

Thematically and artistically, Suzume is a gem. I was in awe of its animation and often found myself on both watches just looking at the vast backgrounds of each scene or relishing in the story’s emotional beats.

The movie may take time to develop and needs a little more punch for its payoff, but it is still worth your time as a genre-mixing indie.

Though it may not be as iconic as the 1940s version, Guillermo del Toro’s Pinocchio is still astounding. Every character is fleshed out and filled with eccentricities lacking in prior versions. Themes of empathy, fascism, dealing with death, and learning to live again run deep within this masterpiece. And for all the complexities, the film is just plain enjoyable.

A lack of flash or energy does nothing to detract from the sheer depth of film exploration present in The Story of Film: A New Generation.

The massive amount of information Echoes of the Empire: Beyond Genghis Khan has to offer is split between several subjects. While all these facts are bound to pique curiosity, it sometimes forgets to satisfy its audience by not focusing on more of each element.

We Are The Thousand is a phenomenal music documentary and experience for anyone, especially musicians.

Meet Me in the Bathroom is a moving memory of each band and their legacy in a larger musical landscape. It captures the ethos of each artist and is an excellent visual companion to Lizzy Goodman’s oral history.

Thurier’s direction gives the production its soul. His vision for Kicking Blood creates a visual motif invoking exploration and inviting the audience into a world of tortured, blood-addicted vampires.

The film features several highs but ultimately too many lows to craft a compelling rallying cry.

For me, the relevance outweighs my enjoyment of Ailey, but this relevance bears a massive weight. Alvin Ailey has a fantastic story, but this might be a narrative that lends itself more to a bio-pic than a detail-oriented documentary.