Everything about this is borderline brave and dangerous. And this is part of the problem with the documentary.

This film shows us that it is okay. We can survive. We can even thrive, and certainly, we can get by with a little help from our friends.

The Parish does not even attempt to avoid sentimentality or predictability. Tony Tibbet’s awkward editing reveals a man doing his best to mask budgetary, directorial, and auditory blunders.

This film is gorgeous, massive in scope, well-written, and superbly acted. It goes beyond being a Michael Bay-explosion fest and definitively transcends action and destruction porn. This is a real movie. Every single issue I had with the original release is fixed—everything from pacing, cinematography, acting, characterization, and even the film’s score.

Rose Plays Julie is an emotionally cathartic thriller.

Own The Room is fun, hopeful, and inspiring to any future entrepreneur and a must-watch.

Its cardinal sin is a complete, total, utter, extreme lack of originality. The title does it justice, really. Sacrilege will most likely be viewed as such by horror film aficionados.

Willy’s Wonderland is a violent, glorious riot of inside-joke horror tropes and Cage’s own best tribute to a genre he helped to create.

Watching the multiple, nonsensical, seizure-inducing sequences, set to bottom-of-the-barrel, thunderous EDM and homemade melodramatic beats feels like being smacked in the head repeatedly by a blaring subwoofer.

A compelling documentary.

The whole movie feels like an overlong Kickstarter set up for a The Disaster Artist-like treatment. Honestly, that would provide a far more fascinating story than the pureed plot provided here.

Not only is it gorgeous, but an excellent primer for the young set into South Asian culture.

Overall, experimental cinema is, as always, an acquired taste. Eremita (Anthologies) may not be the perfect starting point in the genre, but it is still a good point to visit.

This film is done in a seemingly comedic way that does not make it just another boring educational documentary. It is effortless to watch and enjoyable.

Both Glass and Clark provide enough ambiguity throughout (are we witnessing supernatural influence or the active imagination of an unreliable narrator?) to keep us engaged and marking the debut of a powerful new cinematic voice.

If you enjoy being sober around your trippin’ buddies, then Tyger Tyger may be for you, but you’re much more likely to feel left out.

Giving a boxing movie a philosophical back-alley brain transplant is just maniacal enough to work, especially when you consider the psychological discipline and physicality required to perform at a high level in any sport. In this way, In Full Bloom functions as a visually exciting tone poem and as a soulful reflection on battle.

In a miserable year filled with grim cinematic fare, this eminently re-watchable science-fiction comedy provides a much-needed spark of lighthearted exultation.

Of the many themes shown in Koshien: Japan’s Field of Dreams, the two most prominent are failure and passion.

This is must-see mafia viewing.

Though I don’t think 100 Days to Live is necessarily a PSA on suicide prevention, it’s a damn good thriller. I’m still thinking about the morality of that ending even now.

Known for her luscious and exquisite cinematography, Cvetko presents a captivating and well-acted story with great style for a film about contemporary love and life awakening, which includes LA anti-establishment undertones and unfocused careers. The breakout performances of Rambaldi, Neyssan Falahi, and Mattia Minasi are noteworthy as the trio flows and carries one another through the end.

Besides the main character, we see a bunch of loners attempting to fill a bit more of the unfocused main plot with distracting sub-plots that feel more ludicrous than fulfilling. Even with promising pouches of intrigue and an interesting, atypical character, we don’t get a full delivery of that promise.

The beauty of Young Hearts lies in how authentic it feels.

There’s nothing new and nothing we haven’t seen, which means every single moment and plot twist is familiar and predictable.

All in all, I would say that R#J, as a new version of Romeo and Juliet, will have some appeal to its supposed Gen-Z audience, although I’m not sure they will understand it unless they read the play first. But isn’t that always the case that the book is better than the movie? If anything, do watch this film to the absolute very end.

A Glitch in the Matrix is timely and full of mystery and wonder, but lingering on descriptions of surreal subjective experience misses the point. This would be a much more interesting movie if it had more focus on the science of simulation theory.

Wright provides a film of hope and faith with extreme, challenging, and harsh realities and presents them with flawless character and a connection to nature and its healing properties.