However homespun The Fabulous Filipino Brothers might feel or even appear, the film has a certain charm, which many will enjoy.

While The Pact may sound overly sinister to some, August extracts ample nuance out of the cast, ensuring we’re never left without sympathy for Karen. The film’s success hinges upon Neumann’s calculated performance, and she gives the role the requisite amount of ambiguity, keeping the audience guessing as to her true motivations.

Book of Love is never quite funny enough when it needs to be.

The overarching story is outstanding and heartbreaking. An incredible amount of material was uncovered and discovered to construct the film.

Dack’s work as a director is on the screen, in the characters, and widely successful with how the actors convey her vision. Her writing and directing of Palm Trees and Power Lines will make a difference because it’s organic, original, and essential.

Roher is profoundly lucky to have been around when Navalny’s harrowing story needed to be told, and so are we.

The film builds everything up just to smash it and laugh, like a kid playing with LEGO.

Shot from the perspective of Reid’s wheelchair, I found I Didn’t See You There strongly involving. The vignettes that comprise Reid Davenport’s existence really give you a sense of life from the vantage point of one at a lower elevation than most. It’s life, as usual, just a little different, is all.

All That Breathes is a powerful documentary with a message that needs to be felt down deep in the lungs.

Resurrection is a brilliant thriller that rests on the actors’ remarkable performances without the need for typical thriller elements nor the need to resort to torture porn.

With A Taste of Hunger, it is clear that Boe loves food. The film celebrates the culinary arts, as the cinematography lovingly displays exquisite dishes that please the eye as much as the taste buds. He studies how light and sound may affect taste. His approach to gastronomy is as meticulous as the dishes his protagonist prepares.

Perkins brings an entirely new perspective to her life and the events that lead to her untimely death.

With Nothing Compares, Ferguson captures the fire which fuels the still relevant singer. By honing in on a specific time frame but contextualizing it within Sinéad’s life, the film allows us to get to know the subject intimately.

The direction keeps things moving along nicely, while the cinematography makes the whole production look bigger and slicker than it would come across otherwise. Couple that with a decent script and two strong lead performances, and one gets a fine entry into the survival-thriller genre.

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

Like Lucy, herself, Am I OK? does not really discover itself until much later, but once it does, it confidently strides to its conclusion.

Honk for Jesus, Save Your Soul is a wicked read of religion and a showcase of comic talent.

Benson and Moorhead have crafted yet another lo-fi sci-fi masterpiece.

Gillan is always a powerhouse, and the set-up of her in a Battle Royale rumble is enticing. Still, the actor is required to maintain a monotone delivery from which only the slightest emotions escape.

Call Jane is dripping with amazing actors giving solid performances, but only Banks is given a chance at Oscar bait. Weaver’s Virginia is a sagacious activist with long hair, always reminding the group to keep the goal in mind, but we are cheated of heavier moments with her. What is here is wonderful, but it could have used a few moments of gravity.

This classically styled thriller plays on universal themes of alienation to deliver a punchy diversion with macabre tints and a love of the genre.

Thanks to a smart screenplay, excellent, stylish direction, and an outstanding cast from top to bottom, the entire production will unnerve and shake up all watching.

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.

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.

Emergency is a sharp, farcical comedy with a message.

Boyega once again proves he’s one of today’s strongest young talents, giving us a glimpse of his mental afflictions without leaning into them as a dramatic crutch.

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.

After Yang is a good-looking movie, especially for one that’s mostly talking and conversations, the acting is good — an easy feat for seasoned actor Colin Farrell and Malea Emma Tjandrawidjaja is adorable as hell. But unfortunately, it misses its storytelling potential by focusing too much of our attention on the wrong story elements.

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.

The Worst Person in the World is a wildcat in a world of domesticated dramedies and romantic comedies. Trier has made one of the best movies of this year or any year.

There are a handful of dull moments in Definition Please, but as frustrating as they can be, they don’t drown out the brilliance of Rajan and the compelling script. I was pulled in early due both to the emotional content and the relevance to the real world.

With the keen eye of a seasoned documentarian, the filmmaker captures all the depression, anxiety, boredom, love, loathing, and insecurity of seemingly apathetic teens, her gaze never mocking or judging.

Old Strangers is a wonderful movie. If you have an interest in the creeping dread of backwoods horror, then this sci-fi story is for you. The superb acting and effects will leave you riveted.

Children of the Enemy will give nuance to your understanding of the Syrian conflict, radicalization, and issues revolving around resettlement and citizenship.

In the end, Mother/Android is a dramatic triumph that uses cosmic horror alchemy to get some serious expressionism across. It is well worth the trip into the dark woods.

Fortunately, the core cast is phenomenal, especially leads DiCaprio and Lawrence, who are both luminous and effortless. Combine that with the fantastic editing and the jaw-dropping ending, and one gets a flawed but entirely worthwhile viewing experience.

The beauty of the film is just how genuine and down-to-earth the performances are and how Gyllenhaal maintains a natural, authentic tone throughout.

[Simon Rex] goes all-in and sells it with incredible skill and passion. Suzanna Son as Strawberry is also a revelation. She has star quality and a screen presence that is extremely rare. We will be seeing her again.

Delicious is beautiful, entertaining, and achieves greatness by radicalizing eating out, from fine dining to going to the midnight burger drive-thru. Salut!

The King’s Man doesn’t pick up in any truly incredible way until the second half, where a fantastic narrative twist happens.

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 Whaler Boy is an engaging, somewhat fraught look at coming-of-age, sexual awakening, and a broken mind. Onokhov brings the role to mesmerizing life and is supported by a good secondary cast, though they’re playing thinly written parts. But, the epic look and majesty of the visuals carry this drama over any rough waters it occasionally hits.

Superhost could have strengthened its narrative by not revealing its cards as early as it does.

If you want to see a movie that explores grief and death with a very unique and interesting twist, watch An Unquiet Grave. I doubt you’ll regret it.

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.

Has one seen productions with similar stories or themes to Road To Perth? Absolutely, though never one done in this style or with such elegance. The actors honestly stir up emotions, the scenery is outstanding, the characters are lovable, and the entire affair wraps up pitch perfectly.

Davenport is a blind actor who gives the proceedings some added depth because she’s able to convey a dramatic, manufactured scenario with some truth. See for Me, for its familiarity, offers enough thrills to merit seeking out.

The 355 is good old action fun with a well-constructed story and better than all of the bad James Bond movies. That’s right, Octopussy! I’m talking about you. I’m hoping The 355 is the right direction for female-driven action movies.

Seek out Last Words if you have an interest in the fall and decline of humankind. It is one of the more stark and striking versions of the end of the species these eyes have born witness to.

King Car is chock full of beautiful and crazy sequences; all brought to life by a fantastic cast.

It’s a fun diversion.

Red Snow is a lot of fun. The two leads are well written and excellently performed. The jabs at traditional vampire lore prove to be most amusing. While it never becomes creepy, the film still is an absolute blast from beginning to end.

Those who seek their sci-fi with a more cerebral slant will find quite a bit to admire here. The film certainly demonstrates a cast and crew who are dedicated to their craft and provide anticipation for future endeavors in which they continue to polish it.

The film is quite funny and very well written by writer/director Morgan Ignari.

I liked The Tender Bar for its simple story and fantastic performances. But, honestly, it works best as a straight-to-streaming title, as it hits familiar beats and feels small in scope. Clooney has concocted cinematic comfort food.

I should be complaining about how bloated Being The Ricardos is, but I can’t. There’s a lot going on, but I wouldn’t cut a single word or scene. Like Lucy herself, the film is funny, deadly serious, and heartwarming all in one package.

To me, the story is the reason to see The Matrix Resurrections. Lana Wachowski brings unexpected freshness to this new evolution of Matrix stories.

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.

It never attains the balance between gloomy allegory and Disney-like adventure, the former element too challenging for the wee ones, and the latter too infantile for their parents.

Joy Womack: The White Swan is a riveting, bold, and inspiring documentary exploring the life of an American ballerina who paved her own way to success.

Most of us are aware of the “production” inherent in television news. Dumont presents to us the contradiction and spurs us on, in Brechtian fashion, to try to resolve it.

All Speilberg really did was take a masterpiece, keep it a masterpiece, and add a little flair (and backstory). He took gold and made prettier gold.

Like its Russian hero, it aims for the stars and at times reaches exhilarating moments of weightlessness.

Yogi brings us close to Masao’s personal tragedy while at the same time pulling back to see life and death at a cosmic level. The movie delves into the cycle of life and death enough so that that audience members can understand and accept the beauty of the process.

The Sleeping Negro is unlike your typical drama in that it has a dreamlike visual tone and style and is more an essay about the trials and tribulations of being black in America.

This film is as funny as it is scandalous.

The story and music shine. Maybe it is not an instant classic like The Little Mermaid and Beauty and the Beast, but it definitely will enrapture a new generation of Disney fans.

Jared Leto's performance as Maurizio’s cousin, Paolo Gucci, is so over-the-top that it bursts right through the top and swallows up the film whole. Unrecognizable under layers of make-up, speaking in high-pitched, heavily-accented intonations, he’s a live-wire but also a caricature that borders on nasty stereotyping. He out-gagas Gaga (who’s at least partially of Italian ancestry), which is no small feat.

Cruz effortlessly holds the screen in a tricky performance: phlegmatic and ambivalent, radiating charisma and sophistication, making you feel for her despite some morally dubious acts.

For a sequel/reboot, Ghostbusters: Afterlife delivers the fun of the original, albeit in very different ways.

This is one intensely-flavored meal that begs to be swallowed in a single bite. Compliments to the chef.

All around, King Richard is a solid, inspiring film.

This Is Not A Story boasts stunning acting, fantastic music, a heartfelt plot, and impeccable directing.

Heartfelt and genuine sentiments abound, making Petite Maman one of the finest titles of the year, one that can appeal to the (weird) kid in all of us.

With unprecedented access to overfilled, frenzied hospital rooms, as well as quarantined homes, Heineman makes one cringe at every prolonged beep of the vitals monitor, delves right into the patients’ eyes, their very souls. He imbues the documentary with the same sense of urgency and empathy that were evident in his previous docs Cartel Land and City of Ghosts. A tough watch but a necessary one, The First Wave marks the finest cinematic account of the COVID-19 pandemic yet.

Hit the Road is a gut-punch of a film, strikingly gorgeous, as tender as a mother’s touch, as uncompromising as an aggrieved father. Panahi is acutely, painfully aware of the infinite nuances of family, how humans interact, and how to slow down the pace for things to sink in, or simply take a breather, or even sing a song. It’s the best film I’ve seen this year.

The true-to-life repartee between the leads – at times tender, at others snappy, one minute heated, brutally cold the next – is a joy to behold.

The marriage of Johnson, Reynolds, and Gadot is beautiful, and they support one another incredibly well.

Almost every scene impresses, has something to say. How refreshing is that? It’s been a while since a major studio production entertained and enlightened to such a degree, with nary a wrong step, for over two hours. If you can stomach the violence, you’re in for a hell of a ride. Here’s to the Western revival. I’m all about Jeymes Samuel leading this gang.

The layering of multiple narratives on top of each other invites the viewer to reflect upon the numerous themes at play. The drama touches upon notions of one’s own identity, whether we can ever know another’s true identity, and the role of secrets in even the most intimate of relationships.

As clever as the plot is, how it comes to life is something to behold — a command to witness awesome splendor is really the only word that fits here.

This excellent cast of veteran actors makes comic-book dialogue palatable. In lesser hands, it would’ve come off hokey.

Do we want to live in a society that ruins people’s lives for their musical taste? Hopefully not. Watch The United States of Insanity to see what that means and decide for yourself.

Bolstered by two formidable leads, the film is bound to resonate with anyone who has tried to make a fresh start, rediscover themselves, but also maintain a grasp on the past that keeps slipping away.

Speer Goes to Hollywood is essential viewing for those who want a deeper understanding of the horrors Nazis committed and the still lingering aftermath.

This film, this artist, this music, this story: all rare gems…see this film.

The exposition-heavy, cluttered finale, wherein the plethora of thematic elements collide and threaten to implode, almost undoes the painstakingly built-up sense of melancholy/paranoia. Yet it’s refreshing to see a wide release aspire to be something more than just another creature feature, slasher, or zombie gore-fest. Antlers has something to say. It should’ve just spoken less, and more eloquently.

Mailer’s glossy film contains all the expected melodrama that hardcore fans of sports movies have come to expect. Others may wince at the predictability of the plot but are bound to find at least some respite in Shannon’s magnetic performance.

By its conclusion, Paranormal Activity: Next of Kin accomplishes its task of delivering a suitable level of scares in time for the witching season.

Roh slowly builds to the cathartic release of scares genre aficionados crave. But, those watching will be invested thanks to the strong writing and characterizations, stunning score, and beautiful cinematography.

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.

No Future is unassuming, truthful, and absorbing by virtue of the deeply sensitive performances from Charlie Heaton, who exercises rigid body language and a weary demeanor, and Catherine Keener, whose sadness and shock are softly expressed.

Denis Villeneuve delivers on the big epic space story we’ve been waiting for and comes through in unique and unexpected ways.

It is an anxiety-inducing production that is bolstered by the astounding performances of Patric and Krause. While the ending is weak, two-thirds of the film works so wonderfully it is still worth watching.

The visual effects are haunting, the costume design by Juliana Hoffpauir is delightfully fanciful, particularly for Shaw’s scenes as a nameless masked demon. The cinematography from veteran cinematographer Shane F. Kelly is a sight to behold. Basically, The Blazing World is gorgeous. It’s also incredibly well written by Peirce Brown and Young.

For a film that asks its audience to erase so much of the series’ lore, it certainly enjoys feeding them “memberberries” throughout its runtime.

It’s effectively creepy, well-acted, and thoroughly engaging.

Camilleri captures the beauty of Malta in Luzzu. He shows us the island, the sea, the colorful traditional boats with faces painted on the front, and the glamour of sunset over the ocean. He also shows us life there can be destructively difficult for people trying to make it on the low end, as they struggle to maintain their traditions and pride while the world changes around them.