Ultimately, Father Stu is unlike any other faith-based film I’ve seen. It’s raw, honest, and uplifting without tapping into preachy territory, which ultimately makes it effortlessly uplifting.

On the grand scare scale of Asian horror, with The Ring and The Grudge as its standard-bearers, Room 203 is on the lighter side of horror.

If horror flicks came in cans like fake spaghetti, this would be the kind of can-shaped wormy mess that would slowly ooze out when held upside down and shaken.

Its ambition cannot be faulted, but I’ll Find You gets lost in its own nostalgia, ultimately drowning in mush.

Settings aside, Infinite Storm is Watt’s show, and she is thoroughly invested.

Women of the White Buffalo is a major triumph from a multi-talented artist. It may be grueling at times, but it is one of the best visions of something unseen released yet.

If you’re in the mood for some mindless zombie entertainment (pun intended), then Wyrmwood: Apocalypse has got you covered.

Luckily, the story of Waterman is so riveting and the hero so charming that it’s hard not to grow nostalgic along with the filmmaker.

The drama is a powerful examination of the many forms of grief. Without Exarchopoulos, though, this would have been a banal flight in coach, but thanks to her work, it is akin to a Business Class upgrade.

The Secrets of Dumbledore is hands down the best of the series.

Even at 81-minutes long, Poppy Field drags a bit in the middle. But, the story is important, the lead actor is stunning, and the direction is excellent. Overall, this is a revealing and riveting look at how countries are dealing with the LGBTQIA+ in the worst possible ways.

As They Made Us shines because of its cast.

Chariot may not blow anyone away with its inventiveness, but it’s right at home in the family of darkly funny science fiction films that are enjoyable to watch late at night. Full of bizarre performances and a fair share of laughs, this is more than worth a look for those seeking an unorthodox treat.

Meet Me in the Bathroom is a moving memory of each band and their legacy in a larger musical landscape. It captures the ethos of each artist and is an excellent visual companion to Lizzy Goodman’s oral history.

Nightride promises to take you on a ride, which it does; a bumpy one, filled with detours and ennui-inducing stretches.

Aline has quite a few things to praise, but the bio-pic overall feels like a slight step up from a made-for-television film when it comes down to it.

The documentary is made for big Dio fans and burgeoning metalheads. They’ll love it and maybe you will too.

Some pacing issues result in a feature that feels a bit uneven, but I’d be lying if I said I wasn’t entertained throughout all the craziness.

Thurier’s direction gives the production its soul. His vision for Kicking Blood creates a visual motif invoking exploration and inviting the audience into a world of tortured, blood-addicted vampires.

Big Gold Brick could’ve been trimmed down a bit with a runtime of two hours and twelve minutes, and some of the characters, like Lucy, are not fully fleshed out. But overall, I enjoyed Petsos’ strange vision.

Riddled with a familiar story of survival and characters who never stop observing and asking important questions (even though most of them are scientists), Jurassic Island offers some unconventional yet decent entertainment.

The plot lurches from one awkwardly-staged, heavy-handed, poorly-lit, bathed in eye-scorching soft-focus sequence to another with little regard for tonal shifts or narrative fluidity.

The core cast, Pine and Foster especially, are superb, while the screenplay gives them plenty to chew on. At a quickly moving 105 minutes, the film is worth the time investment.

The cast is strong, the comedy and the horror work perfectly in tandem, the meta-commentary is the best Scream, and the ending line is sheer perfection.

I Am Here stands as a testament to the enduring qualities of the human spirit.

You Are Not My Mother burrows underneath the nerves and stays there. It accomplishes this thanks to the amazing cast and strong visuals, which are ideally suited to the intense material.

Yang seems to have embarked on his own writer’s odyssey, going for broke, with a substantial studio budget to help visualize his dreams. There’s no doubting the creativity he displays in A Writer’s Odyssey; he could, however, work on coherence and restraint.

2nd Chance stands right up there as a complete portrait of someone we are simultaneously repulsed by and drawn to. As such, it is one of the year’s best documentaries.