What ‘F1’ lacks in interpersonal drama, it more than makes up for in dramatics on the race track.

It’s been a while since Pixar made something people would remember, and there is no doubt in my mind that their latest feature, ‘Elio,’ is one of those that will be forgotten in due time.

‘28 Years Later’ is an audacious anti-legacy sequel that makes bold choices, takes big swings, and constantly shifts tones as it explores these many out-of-the-box ideas to varying levels of depth and success.

Yearning is close enough to ache, but never near enough to name. Petersen Vargas’ debut short sits with the painful weight of queer longing left in the margins.

Ivan Andrew Payawal’s ‘Pwede G, Pwede B’ deconstructs the late sexual awakening of a man coming from a machismo upbringing.

If you are a fan of the original ‘How to Train Your Dragon,’ then there’s a fat chance you’ll enjoy this live-action remake, because this version is almost a direct copy of everything that we’ve already seen before.

A woman’s loss of an important part of herself takes her through a fairy-tale like pursuit of love. It’s sweet, it’s funny, and for queer people - a film to watch with the girls.

Anchored by a stellar Ana de Armas, ‘Ballerina’ arrives on the scene with all the stylistic action you want out of a Wick movie, but stumbles a little when it comes to its script and emotional core.

Though I would’ve liked to see ‘Mission: Impossible’ go out on a franchise high, that it ultimately fails to reach those heights is a testament to the filmmaking. They never saved their best for last.

While it doesn’t quite capture the magic of the original, the new ‘Lilo & Stitch’ still knows how to warm your heart and remind us what it feels to be a little lost and found.

Aside from Koepp’s sharp-witted screenplay, what makes Soderbergh’s Black Bag so fascinating is the fantastic ensemble, led by an icy Michael Fassbender and an alluring yet cunning Cate Blanchett.

The Margaha Film Festival returns for its 6th run, bringing in new stories and interpretations of old myths from Sagaynon filmmakers — stories that reflect what culturally resonates in Sagay City, Negros Occidental.

‘Final Destination: Bloodlines’ is a gleeful return to the anarchic ultraviolence that is the franchise’s raison d'etre, giving you what you’d expect in subtly different, yet all the more tense and outrageous manner.

‘The Accountant 2’ reunites criminal brothers Christian and Braxton Wolff (Ben Afleck and Jon Bernthal) for an emotional mission, but gives an average story and a regressive depiction of neurodivergence compared to the original. Now showing in cinemas.

Having measly expectations heading into ‘Thunderbolts*’ added a certain satisfaction that took me back to what a Phase One MCU film felt like.

Lemual Lorca’s ‘Water Lemon’ examines a town that is drowning in its personal everyday concerns, yet the environmental crisis still looms. This reflects how immediate challenges of daily survival overshadow the long-term inevitabilities.

‘The Legend of Ochi’ is a lovingly crafted riff on classic fantasy adventure films, one whose intimate foggy mountain atmosphere gives weight to rather broad-brush storytelling.

The Pelikultura Calabarzon Film Festival challenges the Manila-centric Tagalog representations by allowing radical Southern Tagalog cinema to flourish in the national discourse.

After spending nine years making big movie franchise movies, Ryan Coogler has decided that it's time to do his own thing with Sinners — a genre-bending Southern Gothic epic that people will eventually see as a modern classic in the future despite its shortcomings.

'A Working Man' is exactly what the marketing advertised — Jason Statham annihilating those in his way for a personal vendetta. But aside from the gleefully brutal intermittent bursts of carnage, there isn’t much substance beneath the surface.