The finale of Zero Avenue is as brutal and wild as one would hope. Even though the first five minutes are a little patchy, the rest of the film easily overcomes those issues. The two leads are great, the plot is very original and exciting, and the director maintains a tense atmosphere.

What works is the relationship between Mahilo and Chisato. The characters are so well defined and contrasts one another perfectly. The depiction of their friendship is just as good as the fight scenes. Action-wise, it really does take a while to warm up, but getting to the final battle is worth the wait.

Daisy Edgar-Jones is the star here and gives an incredibly endearing performance.

There’s a throughline in this country’s history that goes from The Asian Exclusion Act to Chol Soo Lee’s case to publicized cases in the last few years of hate crimes against Asians. Free Chol Soo Lee reminds us that when we sit on the sideline and do not actively fight against discrimination and the stereotyping of Asians, real people, such as Chol Soo Lee, suffer.

We Are Living Things unravels gradually, methodically. It could’ve used a bit more tension and slightly higher stakes, for the silences in-between its words aren’t as weighty as the filmmakers seem to have intended. Yet it’s refreshing to see a love story rooted in reality, despite the sci-fi undertones.

When I Consume You is stunning to look at and beautifully acted. Even though not everything makes sense, Ewing and Dumouchel ensure that every emotional beat feels honest and the entire film breezes by, as it is startlingly original and unique. It is not perfect but it is ambitious and touching, and that is enough.

At 90 or so minutes, Prey is a lean, mean machine without an ounce of fat on its muscular body. It’s a reminder that this land was populated long before we, the original predators, overtook it, a subtle treatise of “man as predator,” but mostly, a vicious, wildly entertaining flick that’s bound to become the new classic in the series.

What Josiah Saw examines religion, trauma, grief, sanity, and familial bonds in a truly unique way. Grashaw elegantly balances the heavy drama, action, and horror moments, crafting an unforgettable journey. Dilts intelligent screenplay is brought to life by a stunning cast giving it their all in every scene.

Most Westerns like to have a slow burn, but not this one. Canfield includes constant action here that keeps the story from dragging. The nice thing is that the action is there not just to have action, it has a purpose and helps the narrative move along.

Mija captures the true essence of everyone involved, and nothing appears to be falsified or altered for false dramatics.

Everything is immersed in murky browns and washed-out grays; the film is so devoid of color that it’s almost black-and-white. The by-the-numbers script by Matthew Rogers careens along, every so-called twist and turn predictable. No flair or creativity seems to have been applied to any of it.

Ultimately, I walked away wishing the story would leap out of the good category into greatness. But grab your young kids, lower expectations a bit, and you’ll have a good time with the animated antics.

Messaging aside, there is such great nuance in both performances of Carice van Houten and Marwan Zenzari. You’re continually guessing their state of mind in a true psychological thriller manner.

The main actors infuse A Love Song with a sanguine authenticity that keeps things simple narratively. However, it speaks volumes about love, loss, and the desire for connection, however fleeting, and whatever stage of life one is in.

So suspend your disbelief, get a little intoxicated if you’re of age (if that’s your thing), and you’ll most certainly enjoy this wildly entertaining piece of trash.

This documentary is an eye-opener to the future of this ever-shrinking yet growing world.

How to Please a Woman is not the usual romantic comedy that everyone expects to see these days. It is trying to connect with a specific audience, and I think it is successful in doing so.

There is a great deal of heart in My Old School.

It is a magnificent documentary on art and how artists interact with the world.

While the narrative features magical realism, it lacks levity, which will probably make it less appealing to a select few. Nonetheless, this is something uniquely special and a perfect, alluring example of all that is wrong with the world we’re living in.

Official Competition is a bit long and could have used some more of the offbeat humor that it excels at. But overall, it’s a worthwhile journey into pulling back the curtain satirically on movie magic.

Kusijanovic’s feature-length debut is nothing short of revelatory. Murina is the perfect summer film. Beautiful scenery, nuanced performances, and canny filmmaking provide one of the most memorable coming-of-age stories of the 2020s so far.

Clara Sola is an intriguing film ripe with symbolism and strong performances.

Resembling a gradual immersion into a fever dream, the film slyly pays tribute to surrealist greats like Alejandro Jodorowsky and Dario Argento (“presented by” the latter director, it wears the tag proudly), yet also introduces a unique new talent with a fresh, distinct vision.

The pace is tight, and the film’s last scene is a fantastic conclusion to the story: a little bit Telenovela, a little bit grindhouse, and 100% quality.

Anyone who likes gothic horror and science fiction will appreciate what Kelsey Egan and Emma Lungiswa De Wet offer. They create a beautiful and horrible world in which you cant help bet get lost. As I said before, it is my favorite film of the year so far, so if that carries any weight with you, seek this gem out.

For a family film with after-school-special vibes, it lands exactly where it should. Dakota and Alex take center stage with a story and characters that are engaging for kids and make for distracting cinematic “comfort food” for adults.

With Brian and Charles, Archer delivers a heartwarming and timeless film. The witty and clever screenplay efficiently sets up Brian’s quirky behavior in a touching and funny way.