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Bunnylovr is a strong showing of tenderness and understanding that highlights Katarina Zhu’s ability to paint an immersive portrait.
Writer-director Rashad Frett’s feature debut, Ricky (2025), is necessary viewing, and a prime example of compassionate storytelling.
Plainclothes (2025) is an emotionally dense watch as Lucas comes into his truth, but his guilt weighs heavy.
LUZ is backed by an easy on the eyes aesthetic, but its wandering nature and lack of real insight leaves it as a missed opportunity.
Cole Webley and Robert Machoian’s Omaha (2025) is a family portrait you can’t pull your eyes away from, a movie that thrives in subtly.
Rose Byrne’s If I Had Legs I’d Kick You will make you want to crawl under my seat, it will make you want to simply stop existing.
It’s Never Over Jeff Buckley (2025) lifts the curtain back on the lost voice of a generation, revealing someone who contained multitudes.
Atropia (2025) is a different kind of military movie using comedy and irony to highlight the evils of war and the ridiculousness of being an actor.
Isabel Castro’s Selena Y Los Dinos doesn’t do much to add to Selena’s legacy, just small brief moments of vulnerability.
The joy and hope in The Ballad of Wallis Island is something we need right now, a comedy film with a timeless charm.
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Avatar 3 is a cinematic wonder, showing what can be done with computer-generated effects when care and love are poured into it all.
10Dance understands the heart of Inoue Satoh’s manga, and director Keishi Otomo understands precisely how to embrace the audience.
Primate (2025) is at home in its absurd violence, pulling apart jaws, smashing in skulls, ripping off faces, is where it shines.