Nadir Samara

Explorations of sex are a dime a dozen in Hollywood but Thyberg isn’t interested in sex, she is interested in people who are interested in sex. There is no judgment and no fetishizing. (The film even has time for a boner joke.) What more could one ask for in a film such as this?

There is a very entertaining movie somewhere in The Ravine, but it seems to have been left on the editing room floor.

The Tale Of King Crab doesn’t keep one's attention at first, but if the audience can make it past the period piece there is a thought-provoking western on the other end.

Black Crab is a little long, but the movie is too cool to notice.

The script is far from perfect but if one squints, there is occasional fun to be had.

Albeit a good-looking movie with a fascinating premise, The Seed is constantly being held hostage by its poorly written script.

Gold isn't a gut-punch, but it lulls to sleep before spearing with a jagged branch.

Against the Ice is a searing portrayal of the cost to explore in the early 20th century.

The filmmaking of Lucy and Desi will not blow anyone away, but the heart will take audiences on an emotional rollercoaster fans of the couple won't soon forget.

Studio 666 is not great but it is gross, at times funny, and essential viewing for Foo Fighters fans. But it isn’t as good as the video for Long Road To Ruin.

Not dissimilar from the real world, the scariest part of Student Body is patriarchy and gaslighting, not getting hit in the head with a sledgehammer by the school's mascot.

The filmmaking is very strong, but it's Copley’s performance that sells it.

A Banquet is a beautifully made psychological thriller with nuanced performances and a gross hook.

When one thinks The Long Night is walking in circles, it breaks off from the beaten path just in time to give viewers exactly the movie that was sold.

The lead performance almost shipwrecks Last Survivors, but director Drew Mylrea (Spy Interventions) is in complete control of his vision. Silverstone and Moyer feel extremely welcome outside their normal roles and should leave audiences wanting more indie genre fare from the duo. The twist alone should keep audiences watching because Last Survivors has got one that isn't worth missing out on.

Crucially, Last Looks' groovy tone allows the viewer to simultaneously try and crack the case while never having to overly invest in the plot.

I Want You Back will definitely make viewers laugh. The film isn’t trying to make anyone cry or be overly dramatic — it simply follows funny performances through the 2022 dating world and lets the audience fill in the blanks.

The film is masterful in exploring the kinetic energy between its leads, even in the most subdued scenes. The Pact is a slow burn, but one feels the heat the whole time.

From the completely random consortium of villains and bosses to fight scenes that are at times literally shot backward, a lot is going wrong.

The film is heavy-handed in its attempt to be subtle and even Brody’s score can’t save the day, but Clean has its moments.

The Tiger Rising is too serious and abstract for kids yet too ham-fisted for adults.

All in all, The Legend of La Llorona is a kooky movie with more laughs than scares, and is best watched after midnight alongside like-minded friends.

A genuinely gritty premise paired with a 90-minute runtime is typically a recipe for success, but The Last Son never becomes the movie it's capable of being.