Nothing To Do doesn’t really do much of anything.

It’s the kind of comedy that should not work, but somehow does.

The true star and the reason to watch Pig Hag is Anna Schlegel as Jodie. She puts it all out there—her anger, vulnerabilities, and sexuality are on full display.

Being that I’m a fan of the 60s era and war films, I truly wanted to like this film. I feel like there were many missed opportunities for a film with this particular subject matter.

For American viewers, the film will hopefully provide an incentive to learn more about the Philippine-American War, an important but frequently ignored chapter in American history. Thanks to all of this, Goyo: The Boy General avoids being a complete disappointment, and you’ll at least be glad you watched it.

Those who support hunting will probably see a very different film in King of Beasts than those who oppose it. Supporters will see a strong, down-home man exercising his god-given dominion over the planet, while detractors will see a psychopath with a pathological need to overcompensate for his shortcomings by killing things. In this sense, Almagor and Harel are completely successful in presenting a subject with enough information that we can come to our own conclusions in the end.

Sobibor may not fully do justice to the Russians’ involvement in WWII, yet it certainly serves as a powerful reminder that the nation, so ostracized by the US these days, has plenty of heroes of its own. Hopefully, it makes enough of a dent Stateside to help the less-aware think outside the box.

Insofar as low-budget horror goes, The Edge of Isolation is successful at exploring its subject matter without becoming to cheesy or hackneyed. The acting and writing are good, as well as the score and cinematography. I think Houkal, who is also a prolific actor, has a good career ahead of him as a filmmaker.

Erasing Eden’s story is not for everyone. Sometimes I wanted to quit in the same way I almost (and actually) gave up on my friends like Eden. But it pays off in the end if you open your heart and stick it out.

Long Lost, Erik Bloomquist’s feature-length debut is a confident, impressive mystery-thriller. The actors are amazing, the cinematography and lighting are great, and the directing wrings tension out of every scene. This is a thrilling watch that will get under everyone’s skin.

A mildly stylish feature without any clear vision or purpose.

Victor Goodview is definitely goofy. There’s terrible ADR, a lot of weird time spent in bathrooms, too much man-butt, but it’s still got a heart of gold underneath. Which makes it fit into the Troma canon quite nicely, if you ask me.

There isn’t much in the way of original content to recommend in this experience beyond the film’s obvious use as easy fodder. The earnestness in which The Church was made ensures its status as an endearing failure, though sadly not as much else.

If you’re not familiar with Indian classical music and dance, the film offers a remarkable showcase of both, and you’ll come away wanting to learn more about them.

Rottentail is a disappointment, overall, and even forgiving viewers are likely to hop off the bunny trail long before the closing credits roll.

One thing that works well is Catalina Saavedra’s performance as the tormented Olga. The actress finds truth in an underwritten character. She reminds us that cinema needs more well-acted, nuanced films about those who are still inexplicably shunned. Sadly, Marylin brings little to that table. It purports to say a lot with a little but ends up saying very little with, well, a little.

Thanks to immaculate design and puppetry work, amazing acting, and a fully realized, vividly crafted world Yamasong: March Of The Hollows is a spellbinding adventure.

The life-like thriller, eccentric comedy, and outlandish horror elements don’t quite gel as well as intended, clumsily getting in each other’s way.

Overall the pace is a little slow and the film is too quiet, but it’s definitely a notch above typical low-budget fare and entertaining to watch.

Dead Trigger isn’t the worst film ever, but it oddly plays things safe. The characters have no discernible personalities, the story threads are very familiar, and the action is as generic as you can imagine. There are still only three good video game movie adaptations, and this is not one of them.

Tough Guy: The Bob Probert Story does a good job revealing the man behind the battered visage, on many levels humanizing the excessively partying, hard-hitting Probert. However, the filmmaker chokes when it matters most. He fails to do a deep dive into how this ongoing physical punishment adversely affected the health of Probert (and many of these so-called enforcers) while giving a pass to the NHL’s willful negligence and tacit acceptance or this carnage.

Although Hepi admits that he still has a lot of questions regarding his late mother – and his audience is bound to have theirs, as well – he’s nevertheless put together a stirring, deeply personal, and hard-hitting profile that goes a long way toward illuminating and immortalizing Mita’s contributions to Maori culture and world cinema as a whole.

Kulap’s life is on full display in Origin Story. I don’t think I could do it if I were in her shoes. The chamber of secrets has been opened, and she holds nothing back. Her story is fascinating, but also in a way, we become this voyeur into her life, like slowly passing a severe car accident on the freeway getting a good look at the damage.

For a film that purports to endorses equality and female empowerment, its female characters are so uniformly idealistic they’re borderline interchangeable.

Fun and chilling, this bed-and-breakfast gets an extra star for its committed hostess.

There is a lot that Game Girls forces the viewer to grapple with. The lack of accessible health care, income inequality, race relations, lack of opportunity for self-improvement in the inner cities, and the line between exploration and exploitation.