Rob Rector

The documentary is a deeply meditative look at what it means to truly live with purpose and meaning.

Settings aside, Infinite Storm is Watt’s show, and she is thoroughly invested.

Throughout, the film is an idiosyncratic mediation on a pesky emotion that can simultaneously bond us and tear us apart. And with Pink and his exquisite cast behind The Wheel, the audience is in great hands.

The main actors infuse A Love Song with a sanguine authenticity that keeps things simple narratively. However, it speaks volumes about love, loss, and the desire for connection, however fleeting, and whatever stage of life one is in.

Dosa gives shape to the Kraffts’ relationship, not through traditional talking-head interviews, but rather by allowing audiences in on the couple’s subtle interactions with one another in their footage, allowing the story of their life together to be told predominantly by them.

It signals a strong new voice in the genre with the Philippous that is equally confident, commanding, and committed to slinking under your skin.

To both the filmmaker and subject’s credit, neither feel that the transition to Zoey should excuse past behavior, and the director lets her sit with her thoughts. She processes her actions in front of the camera as she surveys the wreckage of her life. This is what makes Whirlybird such a wholly unique story, ultimately resonating as a portrait of a deeply flawed person.

At times as gaudy as Flynt’s gold-plated wheelchair, it also depicts the dream of a country that refuses to sit down and remain silent.

Like all memorable road trips, Threshold understands that the joys are found in the journey as much as the destination.

It’s as emotionally honest as it is engaging.

Despite its polished look and feel, Raise Your Hand feels as raw and real as a documentary. There is an authenticity to the narrative twists and turns as well as the performances from all involved in its cautionary tale.

At a crisp 90 minutes, Cordelia is as enigmatic as its title character for the majority of its runtime. But with its lush cinematography, archaically creepy set design, and outstanding balancing acts from both Campbell-Hughes and Flynn, it’s never muddied to the point of being opaque and remains enthralling throughout.

The movie’s ability to flirt with the familiar and completely turn it on its head is what keeps Psycho Goreman so perversely fresh and fun throughout. It never once betrays its dark heart and continually trots out practical creature effects that tumble out of a GWAR nightmare that keep it engaging, unique, and deliciously deviant all the way to the closing credits.

Tippett himself said he did not intend Mad God to adhere to any strict narrative structure, so it’s best to merely soak in the sumptuous, detailed visuals and extract your own meaning from the journey. It’s a ferociously engaging, if slightly flawed, viewing experience.

Despite budgetary limitations, Dawn Breaks Behind the Eyes perpetually surprises with its ability to keep all its plates spinning throughout its kaleidoscopic journey.

A Quiet Place: Part II offers another round of impressively staged set pieces, a few cheap (but damn effective) “gotcha” jumpscares, and a heavier dose of those spindly, flower-headed aliens.

Despite periodic bursts of action, The Last Duel has a long wick that burns slowly toward its violent conclusion. It’s a wisely protracted take from writers Affleck, Damon, and Nicole Holofcener that allows the audience to consume its narrative details as well as its performances and Scott’s stirring visuals.

Both Glass and Clark provide enough ambiguity throughout (are we witnessing supernatural influence or the active imagination of an unreliable narrator?) to keep us engaged and marking the debut of a powerful new cinematic voice.

It’s nowhere near the intimacy of Homecoming and Far from Home. Still, considering the heavy lifting it’s required to perform, it makes for a fitting grand finale for one of Marvel’s (and Sony’s) most enduring heroes.

Death on the Nile is more solid and engaging than Murder on the Orient Express, and despite the questionable presence of Hammer, it makes for a great latter-day career tentpole for Branagh. He will hopefully continue the adventures of Poirot for years to come.

Diallo’s dramatic horror film is rich with atmosphere and subtext and deserves recognition, despite its narrative shortcomings.

The finale of Emily the Criminal does not match the pulse-pounding scenes of her earlier assignments. However, it still manages to work toward a satisfying, logical conclusion while offering a solid critique of the gig economy many Americans face in which fortune is merely a credit card swipe away.

Despite its plot-thick propensities, The Kindred remains a superior British thriller that unfolds with a deliberate, measured pace leading its audience through an engaging mystery with a deeply human core.

make|SHIFT serves as a lively look into the ad landscape. It also is an inspirational account for young artists looking to enter the marketing/advertising industry.

For those who have read any of the McDonald adventures with the reporter (there are nine, not including the “Son of Fletch” novels), Confess, Fletch feels much more authentic. Hamm is given one of the biggest sandboxes yet for his talent and he pulls it off. Here’s hoping for future chapters.

Farha, writer/director Darin Sallam’s debut, is so effective because it views the conflict through the eyes of a child, one with hopes and dreams and has no role to play in the ensuing battle. It asks viewers to remove their preconceived opinions of the struggle and approach it solely on the human toll that results from living through such tumult.

Hatching is the very essence of a midnight movie and one that will undoubtedly find a sizeable cult following. Sure, its metaphor isn’t as deep as it thinks it is, but this is certainly a solid start for director Bergolm and lead Solalinna.

Despite its slight story and tiny budget, the music that pulses through the heart of the film buoys it above its limitations.