20,000 Species of Bees is a slow burn where most scenes are understated and intimate but culminate into a work that stands strong in the end.

To be authentic to the book, Nichols tells a story grounded in reality to paint an indelible, searing image of a moment fixed in time.

What You Wish For is everything you could wish for in a well-lit plunge into the abyss. The script’s condemnation of the class system is much more potent than the overrated, sneering misfire The Menu.

I love the fact that they told a straightforward, insightful story that doesn’t feel the need to push the “message.” At the same time, Inside Out 2 misses that quest for excellence and instead goes for good enough.

Gateway isn’t the next new face of horror. But it is a visually dense fright fest with a solid cast. While it is a little long, Owens proves he has what it takes to succeed.

School of Magical Animals 2 is light fantasy viewing for kids to enjoy and adults to grumble about, and it hits those marks with style and polished panache. Set your expectations accordingly.

Apocalypse Clown is a little too serious to work as a comedy, and a bit too comedic to work as drama. But the writers have paid attention to their narrative and have ensured that every plot strand comes together at the end. Plus, the cast, especially Palamides, is really terrific.

Miller has hinted that this may be the last adventure set in the wasteland, and if that’s true, Furiosa: A Mad Max Saga is a powerful swan song to Furiosa, Max, and all the denizens of that blasted, delightful place.

I enjoyed its surreal tinge and the thickening atmosphere. However, I came away a little disappointed with the wavering tone, wondering if it this might have horror blockbuster legs if it were a little more even. As it stands, this is a fantastically enigmatic horror film done beautifully well.

Backspot has the same punch as Run, Lola, Run. Just like that film, the thrills are time released into your system at critical points throughout your viewing.

Having been invited to understand Aisha as ‘inspired by real events,’ we come to understand Aisha as a woman– her history, her psychology, and her perspective– that is, her life, ‘not a story.’

Visually tight but engrossing, The Girl in the Trunk is a worthy thriller, especially thanks to the slam-bang conclusion.

The Last Stop In Yuma County is a stylish, great-looking noir with an excellent cast.

The Beach Boys documentary has everything you’d want in a music documentary— a compelling story behind the nostalgia, the main figures being open and honest about the rise and fall, interesting conversations, and great music.

A Family Affair has the heart but could do with a few more laughs though what humour is here is funny.

New Life entertains with fast-moving shooting action, creepy screaming creatures, ample guts, and moments of profound humanity.

This is a film that gets savored through reflection as you put all the pieces together and realize the scope of its achievement.

The standout star here is Cailey Fleming as Bea.

Ultimately, Sight brings audiences a good, wholesome tale of someone who wouldn’t let his past keep him from doing good in the world.

Great villains and silly heroes make a move that ultimately falls flat.

The comedy and drama balance each other well, while the varying styles create a wholly unique work of art that perfectly captures the uncertainty of the beginnings of quarantine.

As it stands, it should keep survival fans satiated, mystery fans somewhat aggravated, and those expecting dry stuff, well, utterly baffled.

H2: The Occupation Lab gives us the Palestinian perspective on the conflict.

The Almond and the Seahorse is filled with sadness and pain, but there are moments of sunlight and happiness, which is ultimately the most anyone can ask for in this life.

Silence of the Prey is lovingly filmed, with Varjabedian’s cinematography giving us lush greens in the deep, dark forests.

Unfrosted is dumb. Not only is it dumb, it’s stupid. It commits the sin of being a comedy that thinks its funny. The film goes wrong in so many ways.

Storywise, I’m good with the first two acts. It’s a new chapter in the series, and things have changed in the story. The world is evolving along with its primate inhabitants.

Those who may not care quite as much about the economic messaging underpinning the film may still find Dinklage careening through windows and getting seduced by hot graduate students worthy of the time investment. Still, there’s no denying that this could have been so much more.

Ruby’s Choice has a few issues that prevent it from being great on all fronts. But most of the plot is interesting, and the ending is perfect. The cast, led by a stunning Jane Seymour, excels and outshines the occasionally wonky writing and voice-over.

Roots of Fire has the power to make you a fan of Cajun music for life, while also (maybe) making you more of a fan of life itself.

This film is not going to be for everyone, but for those who love horror served with a mean little edge of snarky humor, it’s quite a ride.

Rebel Moon-Part 2: The Scargiver is the cinematic sci-fi equivalent of that delicious chicken sandwich people punch each other in the face to get. Unscrunch your face and allow yourself to have an intergalactic blast like you did before you grew up to be so picky.

It’s all about the action. The Ministry of Ungentlemanly Warfare may be forgettable in the long run of Guy Ritchie movies, but it’s fun.

The plotting for Jericho Ridge meanders about aimlessly.

With Larroy, Texas, Atkinson proves himself a confident filmmaker and screenwriter with an ear for dialogue and skill in designing intriguing characters and situations.

As someone who played too much pool in college, I’ve been starving for a good pool hustle movie. Break is just what the doctor ordered. Now I’ll have to pull the old cue out of storage and lose a grand or two in the process.

The degree of ruthlessness that is achieved is stunning, as the skin of the nightmare of the assassination trade is pulled back.

In a perfect world, Philibert’s film will serve as a wake-up call for reconfiguring how we approach the treatment of mental illness on a global level.

Night Shift is an impeccably crafted, clever ghost infestation that has a lot going on under the sheets.

It’s stale, a relic from another time that’s strenuously updated and forced into 2024.

The Fall Guy is a fun action flick with something for everyone.

Cash Out contains flashes that give a wistful look into what this could have been. But the truth is that the title tells you everything you need to know: this action-thriller is nothing more than a paycheck for Travolta, Davis, and everyone else involved.

Life and love are like a song, and Música will have you falling in love with your toes tappin’ and knees slappin’.

The Three Musketeers – Part II: Milady is a sky-high bonfire for the planet to gather around and witness legend in motion.

Despite missing some needed scenes to carry forward the lead’s emotional throughline, this is a good film that is sure to resonate with its core demographic.

Yes, it is still the frenzy over the shoes that has stood the test of time and will be what will draw a wide audience to this movie. However, I think many will be just as impressed if not more so with the man himself.

The two leads work well. Sammy Sheik has a nice gravity and foxy wits as Gamel. As Gamel’s interrogator, Eric Pierpoint exudes a humanity and weary concern around the judicial mutilation he is tasked with managing.

What starts as a standard marriage drama becomes infused with dread and building tension. It’s never easy to pinpoint the root cause, though it goes well beyond the usual verbal conflicts one sees in standard dramas. As the story progresses toward its tempestuous conclusion, one gets Bergman-esque vibes mixed with modern sensibilities. It’s truly a singular experience.

The three main actors bring this narrative to life with power and authenticity.

If you’re looking for proof of an afterlife, you will be disappointed, but as the medical experts stress in the film, there is at least evidence of one. You can be rigid in your beliefs throughout the entire film, or you can have an open mind. Either way, what happens after After Death is you will have been entertained.

For better or worse, the film is more of an intellectual affair than a thriller.

The media and society, in general, love to label groups of people as “the others.” But throughout the world, we have more in common than we realize. It takes films like Alam to see that we’re all in this together.

Joshua and Rebecca Tickell’s documentary, Common Ground, is that rare documentary that actually proposes solutions…practical solutions. I fear that the solutions will disappear into the void if we don’t say anything.

Under the veneer of a blood-curdling horror venture with heightened narrative beats, Disappear Completely is a thrilling film about unchecked ambition.

Kids will get a kick out of it (provided they’re old enough to read subtitles), and adults (parents, especially) will embrace the detail that goes into portraying the complexities of parenthood that are often glossed over by many.

The Actor shows how much fun there is in the indie sphere for regional values mayhem to be had.

It’s pure horror movie fun. Yet the relationships consistently raise the stakes and elevate the film from the “creature feature” label to the kind of thriller that becomes a fan favorite.

Hard Miles is standard fare, but it is well-made. The cinematography is fantastic, capturing the rush of freedom a bike can offer. The score is also a great addition. The cast is solid, and the story is a sweet, engaging affair.

I found the film to be a sweet experience and a marked change of pace from standard cinematic fare these days. Truly, it’s independent film where you find the titles worth championing. Seek this out if you need a film that will serve as a warm hug.

While Villains Inc. is overstuffed with ideas and story threads, it’s a fun and funny ride that’s worth your time. The cast, led by the ever-capable Everton, is a shining example of comedic talent. Each actor’s impeccable timing and seamless interaction with one another make for a delightful viewing experience.

The Brink Of is a darn good film. The cast is great, and the songs are even better. What more does one need from a dramatic musical romance?

It is informative and inspiring, with Sill’s spirit summoned for all to see. It is a great piece of lost classic rock history that so many will relish. It’s the kind of film that buries itself in your ribcage and keeps glowing for days afterward.

The film’s most tremendous success is its willingness to address difficult questions about Switzerland’s past.

While there were no surprises, this is still a fun ride to take.

For his rookie debut, Dev Patel ultimately produced a fun action film with pacing issues—in my humble opinion. Monkey Man’s Indian influence makes this story of class and caste fascinating to behold.

There is certainly an issue here worth isolating and examining: that of veterans finding their oaths at odds with the state. How the movie considers this theme is dangerous and confusing. It’s an out-of-touch and partisan documentary, wasting its talents to stir mud.

Lee Fields: Faithful Man shows that this planet is an even groovier place than we thought. You sometimes just need to hang in long enough to find out.

Remembering Gene Wilder is a beautiful, affectionate, albeit brief, biography of an actor who was adored by all.

Crafted with exquisite care with music and images the film is a narrative that is not just entertainment but a learning experience for some to choose to let yourself into the film world.

Tessa Thompson answering phone calls is not enough to justify a feature-length film. A short film absolutely would have knocked this out of the park, but there is just nothing holding your attention here.

Beauty is in the eye of the beholder, and this film shows us that we could all use a look through the lens that both Hirayama and Wim Wenders use to appreciate the overlooked jewels in this life better.

It’s a photo-realistic computer-animated movie. The animation of Kong, Godzilla, and the other Kongs is mediocre at best. The backgrounds should look photo-realistic, but they don’t. I’d rather watch dudes in suits duke it out over a cardboard city than watch this cartoon mess again.

Arcadian should be the sleeper hit of the year.

Easter Bloody Easter starts off rocky, and not every joke lands. However, due to the sheer number of punchlines, the hit-to-miss ratio is high. The leads thoroughly understand the material and deliver perfectly calibrated performances to match the intentional cheese of the plot. In the pantheon of Easter horror films, this is a good one to rewatch every spring.

Monster stands as middle-tier Kore-eda. It’s a touching tale about childhood and emotional development in a relatively rigid society. Still, it’s never anything more, nor does it push the boundaries of what we should expect from the seasoned filmmaker.

Despite a few bumps in the movie-making road, Reinoso has crafted a fun pop culture documentary viable as an exploration into the props fans love and an inspiration to future collectors.

This doc rocks as much as the old rock rocks. Do yourself a favor and make some time for it.

It is a deeply powerful story and an enjoyable watching experience. The story is real, the directing subtlety emboldens the emotions, and the two McGregors are excellent. I thoroughly recommend this drama.

This is a thoughtful film with several intimate moments, but it might leave you feeling gloomy. On the other hand, if you are like me and enjoy movies that leave you with something to chew on and don’t necessarily have happy endings, The Fragile King is for you.

This is a hard film to watch. If you can stomach it and its terrors, this film rewards you with a cracking good fireside story

Not the greatest thriller of recent years, but far better than most.

Michael Z. Wechsler’s The Red Robin delivers a quality mystery; a psychological thriller hidden within the trappings of familial drama.

It is exciting… enough and is carried by the fun cast and design work.

There isn’t as much art as you would expect, but it is more about what goes into the exam to be a part of the Academy of Fine Arts. The film creates a picture that is quite unique in one way or another.

The film’s intended audience is those who enjoy romantic stories, and it definitely delivers in that regard. Personally, I would have preferred if the story had taken a darker and grittier turn, but I appreciate the filmmaker’s effort to maintain a positive direction.

Yuni is a beautiful, tender film with strong characterizations. The cast is excellent, and the subtle direction reinforces Yuni’s overwhelming feelings.

Limbo is a cinematic monument for the shadows of the doomed.

The story is told with dignity and spotlights a moment of history that demands to be remembered.

Ultimately, we witness an acting community’s evolution throughout the film.

Every once in a while, a documentary comes along that can turn the culture upside down and absolutely move you. Mary Mazzio’s Bad River is that film for me.

Get ready for a heart-pumping experience with Arthur the King—a sports drama that will leave you cheering for more.

It’s not often that we get such a fresh and intimate story of love and revenge.

Well-executed and thoughtful, it is a solid film that is culturally relevant and enjoyable to watch.

You need to see Sing Sing for what it represents. It’s never too late to turn your life around. No matter where you are in life, you can be a positive impact on the world around you…no matter how small it is. Lastly, never give up on hope.

Reza Emamiyeh and Tokiko Kitagawa deliver fantastic performances.

This ballad falls right into the singular category of “so bad, it’s good,” a low-budget, highfalutin, bold, wildly overacted, and at times oddly lyrical gem that ought not to be overlooked.