As clever as the plot is, how it comes to life is something to behold — a command to witness awesome splendor is really the only word that fits here.

This excellent cast of veteran actors makes comic-book dialogue palatable. In lesser hands, it would’ve come off hokey.

Do we want to live in a society that ruins people’s lives for their musical taste? Hopefully not. Watch The United States of Insanity to see what that means and decide for yourself.

Bolstered by two formidable leads, the film is bound to resonate with anyone who has tried to make a fresh start, rediscover themselves, but also maintain a grasp on the past that keeps slipping away.

Speer Goes to Hollywood is essential viewing for those who want a deeper understanding of the horrors Nazis committed and the still lingering aftermath.

This film, this artist, this music, this story: all rare gems…see this film.

The exposition-heavy, cluttered finale, wherein the plethora of thematic elements collide and threaten to implode, almost undoes the painstakingly built-up sense of melancholy/paranoia. Yet it’s refreshing to see a wide release aspire to be something more than just another creature feature, slasher, or zombie gore-fest. Antlers has something to say. It should’ve just spoken less, and more eloquently.

Mailer’s glossy film contains all the expected melodrama that hardcore fans of sports movies have come to expect. Others may wince at the predictability of the plot but are bound to find at least some respite in Shannon’s magnetic performance.

By its conclusion, Paranormal Activity: Next of Kin accomplishes its task of delivering a suitable level of scares in time for the witching season.

Roh slowly builds to the cathartic release of scares genre aficionados crave. But, those watching will be invested thanks to the strong writing and characterizations, stunning score, and beautiful cinematography.

Despite periodic bursts of action, The Last Duel has a long wick that burns slowly toward its violent conclusion. It’s a wisely protracted take from writers Affleck, Damon, and Nicole Holofcener that allows the audience to consume its narrative details as well as its performances and Scott’s stirring visuals.

No Future is unassuming, truthful, and absorbing by virtue of the deeply sensitive performances from Charlie Heaton, who exercises rigid body language and a weary demeanor, and Catherine Keener, whose sadness and shock are softly expressed.

Denis Villeneuve delivers on the big epic space story we’ve been waiting for and comes through in unique and unexpected ways.

It is an anxiety-inducing production that is bolstered by the astounding performances of Patric and Krause. While the ending is weak, two-thirds of the film works so wonderfully it is still worth watching.

The visual effects are haunting, the costume design by Juliana Hoffpauir is delightfully fanciful, particularly for Shaw’s scenes as a nameless masked demon. The cinematography from veteran cinematographer Shane F. Kelly is a sight to behold. Basically, The Blazing World is gorgeous. It’s also incredibly well written by Peirce Brown and Young.

For a film that asks its audience to erase so much of the series’ lore, it certainly enjoys feeding them “memberberries” throughout its runtime.

It’s effectively creepy, well-acted, and thoroughly engaging.

Camilleri captures the beauty of Malta in Luzzu. He shows us the island, the sea, the colorful traditional boats with faces painted on the front, and the glamour of sunset over the ocean. He also shows us life there can be destructively difficult for people trying to make it on the low end, as they struggle to maintain their traditions and pride while the world changes around them.

Son of Monarchs is a type of philosophical journey but one of beauty and mystical discovery.

Like all memorable road trips, Threshold understands that the joys are found in the journey as much as the destination.

At times as gaudy as Flynt’s gold-plated wheelchair, it also depicts the dream of a country that refuses to sit down and remain silent.

To both the filmmaker and subject’s credit, neither feel that the transition to Zoey should excuse past behavior, and the director lets her sit with her thoughts. She processes her actions in front of the camera as she surveys the wreckage of her life. This is what makes Whirlybird such a wholly unique story, ultimately resonating as a portrait of a deeply flawed person.

If you bought into the messy magic of the first film, you will undoubtedly find much in which to revel with its successor.

In the end, I’m not sure if thriller, drama, or action would be best suited to describe Lakewood. Maybe it is not quite the edge-of-the-seat movie one might expect, but it is entertaining enough to keep one fully engaged.

The reason Titane works is director Ducournau and actors Lindon and Rousselle’s commitment to their characters and stories. Each performance is played straight without a single wink to the camera.

Lanksy is a workman-like film with decent production values, but Rockaway is not Scorcese or Coppola. There are no great faults to find with it, except one: fans of the genre have literally seen every element of it before.

Kempff walks the fine line of being frustratingly vague and trusting the audience to grasp the film fully. Knocking, for the most part, lands in the latter category.

Gigi Saul Guerrero is a Mexican director who works in Vancouver’s thriving female production-driven indie horror scene, as documented in Vancouver Video Vixens. After honing her talent with many shorts, television episodes, and anthology segments, she has arrived as a fully formed auteur with Bingo Hell.