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.

My favorite horror offering of the year so far. It’s smart, uncompromising, inventive and just downright hilarious.

Wolf’s directorial command when selecting material to showcase and contextualize the anecdotes spun throughout the film further affirms his mission to paint the most compendious picture possible, and he succeeds quite admirably.

Charlie Says ... missed a chance to explore the psychology of a cult and instead feels like a gauzy art installation without much focus.

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 Tomorrow Man is not one of these high-dramas with something profound to say about human natures. It’s more a chance to watch two veteran actors in John Lithgow and Blythe Danner do what they spent their entire lives doing, and that’s act and act real damn good. They find that right balance between being normal and quirky to turn out a grounded performance.

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.

Ask Dr. Ruth is a lovely tribute to the renowned sex therapist, but it’s not blazing any trails of its own as its subject matter has. As a documentary, it’s pretty formulaic.

Shadow is a sumptuous sensory feast filled with spectacle, surprise, and madness.

When the filmmakers focus on the artists who work there, it is moving and engaging. Despite how fun it is to see your favorite musicians in everyday life, there is not much they say that is interesting.

Provocatively toying with horror conventions, Roxanne Benjamin ensures maximum impact when the terror begins; though the occasional awkward edit rears its ugly head. Anchored by a star-making lead turn and sporting superb sound design, Body At Brighton Rock is a bloody good time.

Marvel has clearly saved the best for last and I cannot stress how much those fan service moments will have you cheering. I highly recommend that you see Endgame in a packed theater of fans so that you can experience the climactic ending with the energy of the crowd.

The White Crow demonstrates that, if perhaps not having yet mastered all of the nuances of directing an artful biopic, Fiennes possesses a keen eye for detail – and the man just can’t help but exude sophistication.

The picture is a stylistically fearless rush; surreal one moment, satirical the next but never for a second dull, showy or overreaching.

Silly and scary, atmospheric and disjointed, I Trapped the Devil showcases Lobo’s affection for the genre. He wisely avoids falling into the “gore” trap, instead relying on characterization and our fear of the unknown to raise the hair on the back of your neck.

Pain either destroys us or makes us stronger. The trick is knowing how to avoid the traps and use it for inspiration. While he could have stayed stuck in the black void of sorrow, White instead made something beautiful. Honestly, he could not have paid a better tribute to his friend.

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

Wild Rose is one of those films that you have to hunt for, and it’s well worth the effort.

The direction keeps things visually engaging, and the editing is flawless. Sadly, for me, the stories don’t connect well enough to justify the whole fated aspect and all but a single song, in this musical, are some of the worst I have had to ever endure.

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.

Instant Dreams makes a strong case for the necessity of instant photography. Its three main subjects are compelling and well spoken. The film’s powerful, hypnotic images, and the mesmerizing score only add to the dream-like atmosphere being conveyed.

A call to action, a sobering first-hand look at the grueling ordeals refugees face, a story of love persevering against all odds, and a visceral, real-life thriller, Midnight Traveler is a unique cinematic experience that will hopefully snap us all to reality.

Screenplays like A Dark Place only get made because they’re familiar. They present intrigue and drama in a way that doesn’t challenge the audience but reinforces their belief of what a movie like this should be. This conformist methodology might make the movie palatable—and marketable—but it doesn’t make it any good.

Higashide effortlessly switches between the two polar-opposite men, both utterly convincing.

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.

It’s perfectly entertaining, it’s just not going to win any Oscars, but it doesn’t need to, it’s a summer movie for fans of the comic and adults who still feel like kids. If that’s you, go see it!

Lindsey Shapiro has captured an intriguing piece of hidden history, showcasing women’s strengths and the overlooked roles they played during the world’s most turbulent times of war.

Ihara and Aw’s love story feels real and plays well as represented through fine cuisine.