Sabina Dana Plasse

The archival footage, reenactment, well-executed cinematography, and stunning wardrobe and makeup allow Framing Agnes to linger in your thoughts much past its ending. Joynt created an exquisite beauty that banishes the notions that trans is wrong or dirty and highlights how it is wildly misunderstood.

Although overwhelmed by the use of memes, Diamond Hands: The Legend of WallStreetBets captures a voice and flavor for why GameStop, Robinhood, and WallStreetBets have a meaningful place in history.

With Brian and Charles, Archer delivers a heartwarming and timeless film. The witty and clever screenplay efficiently sets up Brian’s quirky behavior in a touching and funny way.

The Last Showgirl is a grand moment for Coppola, which she does well, especially with Anderson and Curtis, who are fully committed to their characters and well-studied for their roles.

Although the main narrative thrust may seem redundant for the genre, this perspective makes this well worth watching. This is especially true thanks to good humor, interesting family and community dynamics, and the lead’s convictions which have been decently constructed.

Wright provides a film of hope and faith with extreme, challenging, and harsh realities and presents them with flawless character and a connection to nature and its healing properties.

When You Finish Saving the World offers unique insight into family dynamics in a modern society where the shallowness of a virtual world collides with real-life based on purpose and reason.

A well-edited and rhythmically moving documentary, SPEAK. communicates with us and will continue to hold its own for many years to come.

Quirky and uncomfortable but hard to turn away from, Club Zero is reminiscent of Yorgos Lanthimos’s The Lobster, especially because it has a tone of below-average existence masked in contemporary and forward-thinking superficialities.

While a bit disjointed, the film does offer hidden beauty in a world of seemingly discontent and boredom.

The art direction and attention to detail in The Boys in the Boat are beautiful and well done, especially capturing the feathering of the rowing, the splashing and pools of water, and the creek of the rigging as the team of eight turns the oars with muscle and unison.

Known for her luscious and exquisite cinematography, Cvetko presents a captivating and well-acted story with great style for a film about contemporary love and life awakening, which includes LA anti-establishment undertones and unfocused careers. The breakout performances of Rambaldi, Neyssan Falahi, and Mattia Minasi are noteworthy as the trio flows and carries one another through the end.

All in all, I would say that R#J, as a new version of Romeo and Juliet, will have some appeal to its supposed Gen-Z audience, although I’m not sure they will understand it unless they read the play first. But isn’t that always the case that the book is better than the movie? If anything, do watch this film to the absolute very end.

It is a straightforward narrative of racism where one man’s courage and refusal to give up provides an outlet for success and reform.

The beauty of Young Hearts lies in how authentic it feels.

Through countless interviews with whistleblowers, historians, and people who have survived Agent Orange, the filmmakers craft a searing portrait of unchecked government oversight and corporate greed at the expense of people’s lives.

The entire production is odd, and it never gives off the intended thriller vibe. Rather, the whole affair comes off as depressing and sad. Unfortunately, sparse dialogue and subpar acting do not help The Inheritance in what it lacks in story and mystery. It’s too cold and simple, leaving viewers unfulfilled.

Although it is interview-heavy, a great deal of archival footage fills out the movie. Udi Aloni offers education and insight into amazing people, motivating you to learn more about them.

The Book of Delights is the meeting of mindful deconstruction and visual intrigue about falling and being in love.

Alchemy of the Spirit is beautifully presented even though it appears as if there’s little happening. The color, light, and lack of detail are multiple layers of thought-provoking cinema. It is an authentic experience where the art of film and visual storytelling are present and effective. To add, Berkeley’s acting is without flaw providing another layer to unpack.

It flows from one interview to the next seamlessly, whether it’s a celebrity, writer, or friend. The segments never overpower each other. Instead, Martin adds layers and layers of understanding to Karen Carpenter, a woman who left way too soon.

The movie unfolds with an anxious pace and a consistent building of actions and circumstances.

Although Passion concludes with hasty acts of passion and emotion, it does connect to a more significant issue of how love is fleeting and that commitment is the foundation for moving forward in a life worth living with someone.

Bender’s film never really leaves one’s thoughts even well after it’s over.

The excellent sound effects and editing build up the suspense. The well-placed visual cues — I especially enjoyed seeing a public phone — and cinematography add to the tense atmosphere. Yet, Cannon has more important themes at work.

The timing and character engagement of the entire Don’t Tell Larry cast make the film a blast of fresh-air comedy, much like the satirical Office Space and 9 to 5 office comedies of the past.

Connecting to humanity as a whole through reading ancient prose and writings and trying to decipher them, Mishory parallels the idea of immigration as not only progress but also survival.

The acting and direction in Lonesome Soldier should appeal to a broad audience, not just those familiar with PTSD and military life and outcomes. In addition, the film is well-shot and scripted, and Jackson Harlow has great screen appeal in every version of himself, along with the film’s supporting cast.