Fans of A Christmas Story, and those simply in the mood for a holiday flick, will enjoy A Christmas Story Christmas for the light, nicely touching tale that it is in its own right, without the pressure of having to be as perfect as something as legendary as the leg lamp.

EO is an incredible film, but do be aware it does skew bitter, especially at the finale.

Our Father, The Devil is a deeply suspenseful and insightful film.

An elegiac, minimalist fable, Utama is about many things: global warming, survival, our connections to each other, our priorities. It’s the silences that propel the narrative forward, the wide-open spaces that sear themselves into the mind. But hope prevails.

While Actual People is not going to be for everyone, it does preserve a moment in time from Gen Z culture that informs and enlightens.

Boesten’s ability to capture the natural beauty and intense emotions revolving around family, ghetto life, drug dealing, and its consequences is exceptional and unexpected. She transforms Master of Light from a straightforward biography of a great but somewhat unknown artist into a poignant documentary that offers something to everyone of any generation.

Dermer maintains a bittersweet tone, a gentle mix of levity and pathos. He studies the complexities of friendships, dealing with loss, looking at life as if for the first time, living each day as if it were your last, letting go, and trusting people more. He poses some intriguing questions.

I can go on and on about the multiple tiny lightning bolts Hansen-Løve catches in her bottle. Arguably the biggest lightning she caught was hiring Seydoux.

The movie suffers greatly from very uneven pacing, a bloated run time, and an underwhelming villain.

Occasionally fun and constantly deranged, it’s a film that could have been much more with a modicum of restraint. I gave the worms a shot, but I think I’ll stick to eating worms of the gummy variety.

Behind the pseudo-intellectual curtain of Philippe’s pseudo-documentary, you will not find a wizard. You will find nothing at all.

Strictly for hardcore horror fans, though I can see this also becoming a huge “dare you to watch it” event for the uninitiated. We haven’t had a movie this dangerous in the theaters in a long time, and its presence is both important and historical in the history of extreme cinema. This movie will bite your face off.

As it progresses – and Smith cunningly makes it feel like the film attains a life of its own, guided not by directorial hands but by fate itself – Sr. becomes a touching ode to a formidable individual whose countercultural comedies influenced generations of filmmakers.

Gabby Giffords Won’t Back Down is powerful, inspirational, and emotional, a must-watch.

Fingers in the Wind is not an easy viewing experience because of the slow pacing and ambiguity. But the cast and Murdoch’s originality in both technique and narrative make it a worthwhile journey for me. I look forward to seeing where the director’s filmmaking career goes from here.

Raymond Lewis: L.A. Legend needs to be seen by basketball fans everywhere because the man’s name deserves to be in the history books for his talent/determination, as well as for being a cautionary tale.

Polley attempts to tackle the issue from multiple angles – how male toxicity is passed down to helpless youth by their elders, for example – but ends up running in circles.

While the narrative and the characters are derivations of several aspirations, this still feels original and new. It’s a fun watch; the only hope is that Mukerji and the team will make a cleverer and more rational entry the next time out.

I’m here simply for the brilliant performance of Cate Blanchett. She’s imperfect, incredibly flawed, and a villain who doesn’t know it.

Thanks to the cast and crew, this flamboyant tale of lavishness works on almost every level. At the heart of Pretty Problems lies a story about appreciating what you have and not relying on the compliments of strangers to influence your self-worth.

If you like action, then you’re going to have fun, but this is by no means a perfect movie and doesn’t stack well against old-school MCU (everything up to phase three). Its weakness lies in the by-the-book story and does nothing to overcome the superhero fatigue we’ve been feeling for a while.

While the familial drama is more engrossing than the terrorist plot, Deierling is at least ambitious and swings big. Plus, the acting is superb, so the two halves still work together.

The double-edged sword with Smile and its popularity means there may be a sell-by date after which many of the harrowing sequences become subsumed into popular culture and will no longer feel fresh upon initial viewing. This isn’t the film’s fault, but such is often the case when the public gets a hold of a work of art. See it with a crowd, and see it soon.

The Pez Outlaw has something for everyone. It’s a crime thriller, rom-com, family drama, corporate espionage flick. It is also a sincere and loving look into the Pez collecting community, which is full of the sweetest people imaginable. This is the kind of film you’d show to someone who doesn’t like documentaries to change their mind. It is that good and powerful.

For the more casual viewer who is craving a traditional tear-jerker, this drama more than fits the bill.

The opening sequence is an amazing horror scene and sets a tone that the rest of the movie doesn’t even try to follow until the climactic finale.

Midwives partially plays like a feature film, especially in its second half, when it takes a more contemplative approach with emotional “slice of life sequences” and moves swiftly across years with touches of humour.

I recommend the film wholeheartedly to lovers of weirdo cinema, for people who don’t expect films to follow a strict format, and for those who love the art of writing for film. The screenplay by Emigholz is a behemoth that somehow doesn’t crash, although it seems like it could at any given moment.