After watching the documentary, I hope that as critiques of the male gaze become more and more mainstream, audiences will see through the many cliches and understand the ideology objectifying women in cinema. And as they gaze back, I hope we all realize that they have complex stories to tell.

Despite the greatness of Lloyd, the acting overall comes across as a bit stiff. There are a lot of fresh faces here, so it’s to be expected. Your level of enjoyment of Spirit Halloween: The Movie will probably vary based on your expectations coming in. I kept mine low and had some fun with the spooky cheesiness of it all.

Lowen does a masterful job of presenting the anti-choice movement without spin.

The set design and production value are top-notch, which makes it even more jarring that the production sounds so modern and American. It is taken to such extremes as to be its downfall. It somehow seems less believable because we’re ever aware of being manipulated. It is a shame because, in this case, the real truth was so much stranger than fiction.

Sissy ultimately doesn’t break any new genre ground, but Barlow and Senes embrace these tropes rather than try to avoid them.

Its complicated story, hero, and visual style are a great reminder of the beautiful thrillers birthed during the Golden Age of Hollywood, albeit with the help of modern technology to pull it off with a modest indie budget.

Despite, or perhaps because of, the graphic imagery, this feature is a brilliant look at obsession and the possible grisly endpoint of reductio ad absurdum.

The writer-director’s perverse, continuous, and purposeful avoidance of any semblance of genuine emotion or coherence results in an aggressively unpleasant experience.

West’s bold, stylish direction and brilliant use of color and shadow push Pearl into a whole different level of horror. Goth carries the picture with a bit of acting that is subtle and over-the-top at the same time. How? I don’t know, but I know it works wonders.

Those seeking more adventurous, cerebral, inspired stuff will get a helluva kick.

While Dead for a Dollar may not make one toss out their copy of The Searchers, it’s still a refreshing change of pace seeing three excellent actors in an uncommon genre. When it comes to its originality, though, we’re left watching the tumbleweeds float on by.

Ultimately, Blonde is a recommend but loaded with caveats and disclaimers. It’s not for everyone. Its artistic visuals and Ana de Armas’ spot-on performance as Marilyn Monroe is worth seeing, but the almost three hours of emotional trauma may be a hard pass for most.

The story of these three athletes with big dreams is truly incredible and will open viewers’ eyes to the hardships faced not only by international players trying to make their way in American sports but all athletes.

Ten Tricks is a sweet, goofy little comedy about sex. If that or any of the stars appeal to potential audience members, then prepare for a sexy and silly time.

What We Leave Behind is about generations passing on their hard-earned wisdom. It offers an insider’s glimpse into our neighbor’s culture. Some may find its lack of emotional peaks – save for, perhaps, the ending – exasperating, while others may regard it as a well-edited and shot home movie. But look a little deeper. There’s real poetry here.

One wishes that the directors would have devoted more time to his past, how he came to be interested in Philosophy, and how he came to harness it as a tool useful in conflict resolution. Even still, McAverey and his staff’s love for the children comes through clearly.

For those who have read any of the McDonald adventures with the reporter (there are nine, not including the “Son of Fletch” novels), Confess, Fletch feels much more authentic. Hamm is given one of the biggest sandboxes yet for his talent and he pulls it off. Here’s hoping for future chapters.

Guzmán’s skills as a documentarian have not eroded one bit. His soft narration reminds one of Werner Herzog sans his, at times, metaphysical excesses. The director captures incredible footage of the protests as a functioning organism, a sublime wave of furious power.

Considering everything that MacKay and Hewlett attempt and successfully pull off, the minor imperfections of The Swearing Jar are particularly easy to overlook.

Invisible Demons is tough to watch because of the shocking images and facts presented, but it is done with purpose. The purpose is that we all need to start living cleaner and healthier lives so we can avoid getting to the point of no return.

Despite obvious tension between the two groups of characters and the considerable bloodbath that follows at the lakeside, Camping Trip does not formulate a dark, horrifying atmosphere or a psychologically-heavy tension.

This is a poignant examination of the many forms of love. Even if one isn’t totally on board with the lifestyle at the center, it makes it hard not to wonder what that seemingly mild-mannered couple you know might be up to when the shades are drawn.

Living is a good remake and a solid film on its own merits.

Even with some pacing issues, this is a thoughtfully written and beautifully shot thriller.

It raises interesting questions about cults of personality, our inability to deal with aging, and how we can use the people around us to get what we want. That’s not exactly surrealism, nor is it realism. It’s just Hollywood.

Characters are keenly observed and come front and center over the plot. Anything can happen. Absurdity reigns supreme. Yet, at the end of the day, we know a little more about the human condition after seeing it bursting at the seams.

This drama is about a real war, actual people, and things that matter. While it probably won’t make a billion dollars at the box office, for my money, a true story well told in a heartfelt way is invaluable and important.

The uninitiated may wonder what the fuss is about, but for the true Fassbinder Heads out there, Peter von Kant is a revelation. Ozon has made one of the best homages to a master filmmaker ever made.