Therese Lacson

There are no easy answers, and Nuisance Bear presents none of them.

Ultimately, there's much to enjoy in Sharper, with a premise that offers intrigue and a strong group of performances, but it falls flat at the end, unwilling to dig deeper into its characters or the meaning behind its story.

Where Thornton's narrative falters, his camerawork and directorial eye are stronger than ever.

Ultimately, the concept behind The Virgin of the Quarry Lake might have embodied Mariana Enriquez's short stories, but it feels too jumbled and fails to meet its full potential.

Artfully combining song, romance, and unique settings, Oliver Hermanus offers a heartbreaking and emotional film that reminds us not only of the enduring nature of love but also the power of sound and song.

Director Chloé Robichaud's fourth feature film is a fun and sexy romp that discusses infidelity, marriage, and being a mother in our modern age.

The Choral offers a unique look at WWI, while struggling to maintain balance between its compelling lead and somewhat lackluster storytelling with its other subplots.

With more time and focus, Aum could have been the next hit series bought by a streamer, but as it is now, it doesn't dig deep enough and leaves an incomplete narrative about this deadly cult.

I hope that someone else decides to tell the story of Kim's Video again one day, because Kim's Video by Redmon and Sabin is incomplete, and a little too self-obsessed to do such an interesting story justice.

There is never a moment when you're swept away by the romance of Walt and Sophie and that should be the point of all of this.

Ultimately, Freaky Tales works if you don't look too hard at it. It's a fun time and some of the most extreme scenes will make you forget any plot holes or inconsistencies.

It is a fun romp, one that is sure to entertain audiences.

Wicked: For Good is not only a loyal adaptation, but it builds on what works from the first film while leaning into its lead performances. The characters are more mature and nuanced, making it a worthy successor to the first film. It doesn't surpass Wicked, but as a double feature, these two movies do justice to one of the best musicals ever, and that's not an easy feat to accomplish.

Narratives about identity are important, but Elemental lacks the delicate nuance needed to tell these stories.

What saves this movie is Taylor-Joy and Teller. Though their in-person scenes aren't nearly as endearing as their scenes with each other across the gorge, the two do have great chemistry. They're interesting to watch together, especially during their action scenes.

I never once rolled my eyes at a joke that was clearly dropped in, so it could be a zinger and make it to the trailer. It successfully silenced a rather jaded MCU fan by offering a story that had it all without having to sacrifice its soul to the MCU machine that is eager to churn out stories for future phases.

The Bride! embodies an unconventional and rebellious nature that makes it wholly unique. Whether it's aware of its flaws or not, it's not ashamed to lean completely in. In many respects, The Bride! can come off as being just a little too much. Too much romance, too much theatricality, too much feminism — but sometimes, too much of a good thing is still a good thing.

Ducournau's story is brilliant, but without the leading actors of the film, the movie wouldn't have been nearly as impressive.

Jamojaya is at its weakest when it pushes its music industry storyline to the forefront and the family drama into the background. But Imanuel and Unru's performances are enough to give this film praise, and it will be exciting to see where Imanuel goes next in his burgeoning acting career.

Emerald Fennell's film is merely telling a shallow story about two people overcoming all obstacles to fall in love — not necessarily awful on paper, but it's an adaptation that feels like a 14-year-old skimmed the book and jumped to her own conclusions without any true understanding of the novel.

While the group of actors who play the students offer strong performances, particularly Luke Barker, Ksenia Devriendt, and Florence Baker, Hausner's meandering feature eventually concludes without a real ending.

It's personal without being indulgent, it's unique without feeling incomprehensible, and it's full of heart and soul without being saccharine.

Alienoid is a movie that wants to be everything and satisfy everyone, and when you try to satisfy everyone, you invariably end up satisfying no one.

With a messy story and confusing characters, Aïnouz's Firebrand is a disappointment to behold no matter how exquisite the film looks.

It's far from perfect, but the production design of the film and the strong backbone of actors make Cobweb an entertaining film, though not a must-see.

With heartfelt and emotional performances by the cast, See You When I See You is a stirring tale about survivor's guilt, grief, and reconnecting in the wake of tragedy. Though the film hits on all emotional notes, there's one crucial setback that holds back an otherwise moving story.

Umma is a solid entry for Shim's debut with a strong story and standout leading performance from Oh. It examines generational trauma, identity, and what it means to confront your past, and it does so effectively.

It's hard to find any redeeming qualities in Last Days. Its pacing and multiple storylines, not to mention jumping back and forth in time, only work to make the viewer disoriented when it comes to bonding with a character who already does not feel that sympathetic.