Kogonada channels something, often in the replication of the works of Jacques Demy and Hayao Miyazaki. Yet, it isn’t enough when the central dynamic at its core fails to elicit the yearning spirit that makes any viewer hopelessly head over heels.

Rian Johnson’s resurrection of the all-star murder mystery continues with yet another flawlessly cast, cleverly written, socially relevant, supremely entertaining entry in the “Knives Out” franchise

Ultimately, Tuner is a film about sound, silence, and rediscovering who you are. It’s about the terror of losing what defines you, and the strange, unexpected ways life can offer a new shot for those who feel they already missed it.

A profoundly moving experience about nuanced thematic explorations of connections that is exceptionally crafted. The somber filmmaking highlights an engaging atmosphere, and the narrative is layered, nuanced, and captivating. The performances are all exceptional.

Gavras awkwardly swaps politically charged potency in exchange for an unmemorable satirical take-down of those contributing to our planet’s ongoing environmental destruction.

For some, the narrative’s stronger foundation will be an asset. For others, it’s an underwhelming aspect that detracts from the overall enjoyment of the read. Either way, the film remains a fascinating piece that showcases a high level of creativity, making it worthy of being experienced.

This carefully crafted documentary is more focused on telling a particularly curated story about Candy than any incisive or thought-provoking portrayal.

Thanks to Ahmed and Karia’s creative collaboration, this new version of a man caught between expectation and collapse, tradition and insurgency, love and fury will hopefully find its way to a new generation that has never experienced Shakespeare’s timeless story before.

The character study being forged remains passionately vibrant, and Maura’s performance serves as the guiding light that makes this effort worthwhile. She is undoubtedly the film’s greatest asset, and it’s worth seeking out just to watch her brilliant work.

The film struggles to find an effective core focus that ties all the narratives together in a cohesive and entertaining manner. Ultimately, Fuze lacks the precision in its writing to make the twists and turns worthwhile.

Ultimately, Mile End Kicks is a messy, heartfelt portrait of youth and creative ambition.

Either you’re able to get on Fuller’s wavelength or not, but the freshness and boldness of Dust Bunny are cause for celebration, regardless of which side you find yourself. There’s nothing else like it.

Anchored by moving performances from Emilia Jones and Nick Robinson, you’ll find yourself falling in love with all that Charlie Harper has in store.

Crime simply hasn’t felt this hot, or this exciting, in quite some time.

In its attempt to create extreme good vs. extreme evil characters, California Schemin’ schemes one click too far.

With magnetic leads and Julia Jackman establishing herself as one of the most exciting new voices in British cinema, the film pulses with inventiveness and heart. It’s a fairy tale like no other, boldly queer and unapologetically feminist, a cinematic feast of humor, emotion, and rebellion.

Lost in the Jungle is a gripping, deeply human tale of survival, told with precision, empathy, and artistry by two of the very best documentarian filmmakers out there.

Writer-director Lucía Aleñar Iglesias and star Zoe Stein announce themselves as major talents in the former’s contemplative, moving feature debut - a work that's as patient and impeccably-composed as it is alluring from a plot standpoint.

Though James does her best with what she’s given, this movie doesn’t provide a full and rich look at Wolfe Herd’s life, who is certainly a lot more than just her career achievements (they are immensely impressive, but shouldn’t define her).

The Sun Rises On Us All is, above all, a film of contrasts. Its emotional core and the compelling performances of Xin Zhilei and Zhang Songwen are undeniable, and moments of genuine power shine through. Yet uneven pacing, heavy-handed melodrama, and occasional narrative drift prevent the story from fully resonating.

Leading with sincerity, Hikari makes a moving love letter to the people and places of Tokyo. Brendan Fraser performs with his heart on his sleeve, which lends perfectly to the film’s concept.

The prevention of the rise of similar evil is an unending project needing similar vigilance and tenacity as expressed by many of those captured here on screen in “Nuremberg.”

As a whole, Bad Apples occasionally brings some laughs, but it leaves little to ruminate on after. If Ronan and Waller weren’t as good as they are, bringing a dynamic that has some interesting evolutions, then there would be a lot less to present here.

The Christophers may not be Soderbergh operating at his peak, nor does the film build to a satisfying or impactful conclusion. Regardless, Coel and McKellen make this creative endeavour worthwhile.

A fantastic cast brings a soulful and endearing story to life with plenty of gags and creative world-building in between.

Tessa Thompson and Nina Hoss are electrifying and seductive, and you can't take your eyes off them. Nia DaCosta puts her flair all over this retelling.

Jennifer Lopez and Tonatiuh give exceptional, electric performances. The musical sequences are stunning, thanks to thrilling dancing and gorgeously old-fashioned designs.

The performances by the entire cast are charming and authentic, elevated by a lovely score and picturesque cinematography. A gorgeous, personal story that's more than easy to get emotionally invested in.