Perhaps one day, gender will cease to be an object of discrimination, but that day is still far off. In the meantime, we need warriors like these brilliant composers to wage war against a stacked patriarchal system.

Mortal Kombat is a pretty good representation of the video game. It’s all action and not much else, and normally, I do want more from my movies. But here, that is precisely the point, and I’m okay with that!

A film called My Wonderful Wanda needed more exploration of the title character.

The only reason to see this film is if you’re a fan of any of the actors. Everyone is good, but ultimately, the story will let you down.

Monday succeeds in large part to Sebastian Stan and Denise Gough’s performances.

If you were to rewrite the first five minutes of Bloodthirsty and left everything else the exact same, you’d have a perfect movie. As it stands, thanks to atmospheric directing, mostly good writing, and a brilliant cast, you have a very good one that is high on the creep factor populated with likeable, engaging characters.

As far as horror goes, Anything For Jackson turns up the tension as well as the best of them.

A far as coming-of-age stories go, Once Upon a River is a very sweet story. There’s not a lot of fluff, but there is a lot of heart in a story based on a novel and feels in a way like a novel.

Perhaps the worst thing about the writer/director/star’s feature is that it basks in the excess it purports to condemn, confident that pounding the viewer into submission is the way to go, in addition to ending on a hypocritical note that defies everything that’s occurred up to that point.

While admirable in its ambition, the end result just doesn’t quite gel. Cool poster, though.

Director Sabrina Van Tassel does an excellent job of drawing in the audience to the labyrinthian case of Melissa Lucio.

There’s much to like about Hope, but it’s the honesty I liked best.

Funny Face is a rare gem of a film that will keep you guessing from beginning to end, and you’ll be lucky if you get to see it.

The comedic drama is insightful, touching, and relatable, permitting viewers the ability to resonate with its every line, moment, and character.

Las Maravillas de Mali’s sound is reminiscent of another Cuban revelation, The Buena Vista Social Club, and the same fire burns here. At the heart of the film is the music, the gently driving beat that spins out joy and sadness, familial warmth and solitude, love and life.

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.

The performances in The Art of Return are splendid. Macarena García brilliantly captures every facet of her character’s personality — detached, dreamy, sensitive, angry, and conflicted.

The result is undoubtedly a tough watch at times, but to miss it would be turning the same blind eye that so much of the world has done to these creatures. There are flashes of hope within, including some justice brought to one of the world’s most notorious ivory traders and increased awareness on a global scale.

The performances are remarkable, particularly from Kingsley, and I love the script. I can’t wait to see what Dan Kelly and Devereux Milburn do next, whether it’s together or separately.

War Path is a good movie with potential. It does a lot with its budget and resources and is worth a watch for any fan of independent filmmaking.

If you happen to be in the mindset for a long, leisurely, spiritual cinematic rumination about the fragility of life, the futility of our professional pursuits, the power of femininity, and the sheer bliss of living in the moment, then delve right in. The writer and director’s aim is not to shock or devastate, nor elicit any strong reaction, but to make one ponder the Meaning of It All.

The Djinn is scary and harrowing with a shocking and impactful ending. The acting is perfect, and the visuals are a masterclass in creating tension.

The Columnist is that rare mix of comedy and horror that isn’t too cheesy or over the top.

For a sci-fi feature, it’s certainly not visually-stimulating; perhaps it would’ve worked better as an audio-book.

Diving into Sam Harris’ life was fun, and you will have fun too… unless you hate musicals.

Due to outstanding writing, stylish, dazzling direction, and a breathtaking, radiant performance from Kelly McCormack, the drama never lets the audience go and proves to be a searing examination of its young protagonist and the society she lives in.

While there are some serious themes at play, the movie still has plenty of gooey gory fun for horror fans.

It’s a story of very flawed people who followed the pied piper to a new world that doesn’t exist.

The performances are serviceable, but character decisions are so frustratingly ill-advised, it is difficult to muster an ounce of interest in any one of them.

While I can understand and accept poor writing, it is deeply offensive to me that Wittock brushed under the rug the extensive abuse that Jeanne faces from Margarette and Marc. It normalizes non-consensual sexual behavior and parental abuse, both prevalent and very traumatic experiences. Therefore, despite all the good present in Jumbo, it would be immoral of me to recommend it.

Safer at Home starts on an off-putting note, and the epilogue muddies the timeline to the point of confusion. But, nestled between those two baffling sequences lies a gripping thriller brought to life by astute direction, an intelligent screenplay, and a great cast. While not perfect, this independent production is still worth an adventurous audiences’ time.

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.

It’s a huge task to cover a man’s entire journey to finish one piece of work, and The War and Peace of Tim O’Brien does an adequate job of giving an objective eye into Tim O’Brien’s life.

Klein’s decision to pull a Kramer vs. Kramer and provide his heroine with next-to-no discernible rationale for bailing on her family both pays off and becomes a minor hindrance.

While his previous drama, The Road to Mandalay, showcased his keen eye for social realism, Nina Wu is suffused with visual poetry – all stark-reds and grainy yellows – and a dream-like (or nightmarish, depending on how you view it) atmosphere. It’s a portrait of a country experiencing significant sociopolitical changes. By focusing on its filmmaking industry, Z takes advantage of the opportunity to experiment visually, thematically, and narratively – at times, to the film’s detriment.

The best laughs of Boys vs Girls come at the end, so be patient, and you’ll have fun.

Perhaps the fact that the film is so inspired has something to do with the established camaraderie between fellow Marvel veterans. The franchise’s influence – the ebb and flow of the film, the swooping camera shots, the scope – is evident; only in this case, instead of the System’s victim becoming a superhero, a potential hero falls victim to the System. In the Russo brother’s capable hands, Cherry will speak to both millennials and older generations alike.

It feels timely and urgent, and its phenomenal young heroine ensures it doesn’t become overly mawkish, preachy, or prosaic.

Consisting of three segments, this hit-and-miss cinematic jumble imagines our world being taken over by the titular otherworldly gateways. Their origins and purpose remain ambiguous throughout, which some may find tantalizing, while others will deem infuriating.

Donny’s Bar Mitzvah just works from start to finish.

The Good Traitor is still a solid movie for history buffs and does contain several moments of genuine style, making it well worth the watch.

As a celebration, the documentary is an uplifting and joyous experience filled with amusing stories and engaging anecdotes.

The Hunt for Planet B delivers a captivating viewing experience, showing the sometimes-thin line between science fiction and the true scientific future.

Despite struggling with a thematic focus, the film presents a woman who is well worth getting to know.

Instead of stitching together interviews and footage into a chronological plot, Wharton goes with the proverbial flow.

[A] mind-blowingly thorough and epic documentary.

Most importantly, Introducing, Selma Blair is the story of a mother desperately trying to keep it together and be the best parents she can be to her son while dealing with a disease.

Fraught with all-consuming dread and familial mystery, Here Before is an emotionally and psychologically demanding thriller surrounding the loss of a child.

True creativity is not always found in creating something new but figuring out ingenious solutions to seemingly insurmountable obstacles, and these people are very creative.

Luz does have trouble giving depth to its characters. Rather than a deep dive character study, the film is very plot-centered. That is not inherently a bad thing, but unfortunately, when moving the plot gets in the way of developing characters, it can be a shortcoming.

Everything about this is borderline brave and dangerous. And this is part of the problem with the documentary.

This film shows us that it is okay. We can survive. We can even thrive, and certainly, we can get by with a little help from our friends.

The Parish does not even attempt to avoid sentimentality or predictability. Tony Tibbet’s awkward editing reveals a man doing his best to mask budgetary, directorial, and auditory blunders.

This film is gorgeous, massive in scope, well-written, and superbly acted. It goes beyond being a Michael Bay-explosion fest and definitively transcends action and destruction porn. This is a real movie. Every single issue I had with the original release is fixed—everything from pacing, cinematography, acting, characterization, and even the film’s score.

Rose Plays Julie is an emotionally cathartic thriller.

Own The Room is fun, hopeful, and inspiring to any future entrepreneur and a must-watch.

Its cardinal sin is a complete, total, utter, extreme lack of originality. The title does it justice, really. Sacrilege will most likely be viewed as such by horror film aficionados.

Willy’s Wonderland is a violent, glorious riot of inside-joke horror tropes and Cage’s own best tribute to a genre he helped to create.

Watching the multiple, nonsensical, seizure-inducing sequences, set to bottom-of-the-barrel, thunderous EDM and homemade melodramatic beats feels like being smacked in the head repeatedly by a blaring subwoofer.

A compelling documentary.

The whole movie feels like an overlong Kickstarter set up for a The Disaster Artist-like treatment. Honestly, that would provide a far more fascinating story than the pureed plot provided here.

Not only is it gorgeous, but an excellent primer for the young set into South Asian culture.

Overall, experimental cinema is, as always, an acquired taste. Eremita (Anthologies) may not be the perfect starting point in the genre, but it is still a good point to visit.

This film is done in a seemingly comedic way that does not make it just another boring educational documentary. It is effortless to watch and enjoyable.

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.

If you enjoy being sober around your trippin’ buddies, then Tyger Tyger may be for you, but you’re much more likely to feel left out.

Giving a boxing movie a philosophical back-alley brain transplant is just maniacal enough to work, especially when you consider the psychological discipline and physicality required to perform at a high level in any sport. In this way, In Full Bloom functions as a visually exciting tone poem and as a soulful reflection on battle.

In a miserable year filled with grim cinematic fare, this eminently re-watchable science-fiction comedy provides a much-needed spark of lighthearted exultation.

Of the many themes shown in Koshien: Japan’s Field of Dreams, the two most prominent are failure and passion.

This is must-see mafia viewing.

Though I don’t think 100 Days to Live is necessarily a PSA on suicide prevention, it’s a damn good thriller. I’m still thinking about the morality of that ending even now.

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.

Besides the main character, we see a bunch of loners attempting to fill a bit more of the unfocused main plot with distracting sub-plots that feel more ludicrous than fulfilling. Even with promising pouches of intrigue and an interesting, atypical character, we don’t get a full delivery of that promise.

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

There’s nothing new and nothing we haven’t seen, which means every single moment and plot twist is familiar and predictable.

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.

A Glitch in the Matrix is timely and full of mystery and wonder, but lingering on descriptions of surreal subjective experience misses the point. This would be a much more interesting movie if it had more focus on the science of simulation theory.

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.

Fran Kranz’s debut feature-length dramatic film Mass will linger in your head as you process its ability to provide solace in the face of atrocity. Perhaps the most defining quality it exudes is Kranz’s ability to evoke impressive thought-provoking drama within a bare environment of a table, chairs, and four people in an auxiliary church space, the primary location for the entire film.

Lacôte’s second directorial feature, Night of the Kings, is an epically ambitious undertaking, roaring along on several parallel tracks, with a dizzying number of sub-stories to track. The world inside MACA prison is a complex, layered cultural and political system.

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.

It may not break new ground when it comes to this genre, one involving betrayal and heavily-accented mob bosses and brotherly love, but when a familiar path is tread with such confidence, you just may want to take another stroll.

The convoluted movie feels like a bunch of grandiose ideas in search of a connecting thread. Perhaps Cahill needs to reconnect with his indie roots to get his creative bliss back.

The dream-like, poetic result is an astonishing visual achievement, an example of what an artist lacking a Hollywood budget can conjure with sheer ingenuity. That said, some may find its impenetrable narrative and purposefully distancing nature irritating. There’s only so long one can stare at an abstract painting.

Bloody Hell is possibly the best combination of horror and comedy I’ve ever seen.

The appeal of M.C. Escher: Journey into Infinity is near-universal. It’s hard to imagine not falling under its mesmerizing spell with the same wonder that one would gaze on an Escher print and feel their mind slowly becoming part of the pattern depicted.

Although, like its main character, Hive is more on the low-key and pensive side, it is nonetheless a gut-punching and measured film. It is about the consequences of warfare and the many wounds those who survive have to tend to in order to create a new normal after years of utter tragedy, such as the genocide and massacres that happened in many villages like Krusha during the Kosovo War.

Anchored by an iconic turn from Cobb, in her first lead role, and consistently daring choices from both star and director, We Are All Going to the World’s Fair is one hell of a trip.

I love Together Together because it’s a sweet and straightforward story surrounding surrogacy. It’s void of Hollywood dramatics and firmly places Ed Helms into that older best friend category on screen.

Writer-director duo Albert Birney and star Kentucker Audley take us on a whimsical journey that bends timelines and genres, resulting in a consistently absurd, hilarious adventure.

I think that Prisoners of the Ghostland belongs in the category that was previously only really reserved for Jodorowsky’s El Topo, and that is the Acid Western. It embodies and revives that category of movie. If you like Westerns, martial arts, Japanese cinema, Nicolas Cage, or anything weird AF, then this is certainly for you.

I really appreciate the bold narrative that Thyberg and co-writer Peter Modestij crafted. It is sex-positive, it takes no prisoners, and it grabs your attention from word one to the final frame.

This funny, heartwarming, and thorough documentation of Sparks’ career [is] a benchmark by which all future music documentaries will be judged.

Sisto certainly has an eye for the story he’s trying to tell, and there are moments throughout John and the Hole, which show he has what it takes to be an interesting filmmaker. [But his] visual flair would have been better served with a stronger story.

The movie is a shared experience between a mother and daughter that could tread into the undeniably cheesy or depressing territory but has a tattered joy to it. It’s a low-budget slice of life, which we don’t see too many of these days.

Hall has crafted a masterpiece of nostalgic filmmaking.

The director, who also stars in the film, and his fellow lead Christopher Abbott, share amazing chemistry that turns any run-of-the-mill conversation into entertainment.

Jockey is a solid piece of work that reflects on who we are and what we leave behind, as well as the prices we pay to get there.