‘Mistress Dispeller’ opens with a disclaimer: everything you will witness on screen is true. What follows is a complicated yet real case of infidelity in which the wife seeks the help of an expert to save their marriage. 

‘Tale of the Land’ is an ambitious attempt to connect societal issues such as forced displacement and familial trauma. It didn’t stick its landing, though it’s still serviceable.

‘Anora’ is a tale of two halves: the first half, in typical Sean Baker fashion, explores Ani’s daily life with a dash of romance that often leans into male fantasy. The second shifts to a cat-and-mouse chase with the supporting characters.

The film’s elegance cannot be disregarded, with how the ghosts of history loom by and large around its characters. ‘Cu Li Never Cries’ is almost like a faded memory, a transformed picture difficult to fully remember.

One may just be impressed to think how for a debut feature, ‘Don’t Cry Butterfly’ just seamlessly flows through everything so nicely. It’s an experience that leaves plenty to think about, whether it be in the creative decisions or the story.

‘Pierce’ hits with a flurry of blows for a story about a tense brotherhood. Its soul is laid bare, framed so disgustingly sharp that one can’t help but be glued to its madness.

‘The End’ wasn’t made to create sympathy for the ultra-rich anyway, but its direction is quite muddled and meaninglessly repetitive. It’s richly detached to a fault.

‘Lost Sabungeros’ suggests through interviews with insider whistleblowers that the criminal mastermind behind the violent disappearances within the e-sabong industry is the notorious gambling tycoon, Charlie “Atong” Ang.

‘When Fall is Coming’ only finds itself to be treated with some care, ending up another vapid attempt in one of Ozon's many to demystify the stable French countryside.

‘Moneyslapper’s’ brand of violence gets disgusting without ever firing a bullet. It is methodical, yet reckless; straightforward, yet deep.

Outside of a likable cast and its sincere intentions, ‘Maple Leaf Dreams’ fails to dramatize familiar material in a compelling manner. Its best parts have little to do with its story, but rather with the real-life Canadian OFW stories.

While the film unapologetically retains the same formula from the original, the sequence of events in ‘Smile 2’ is more ridiculous and excessive that the horror becomes absurdly amusing.

Presented in a nonlinear narrative, ‘We Live in Time’ emphasizes moments of grief and memories of romance, powered by moving performances from Andrew Garfield and Florence Pugh.

Unlike the smash hit of a song ‘Die With A Smile,’ ‘Joker: Folie à Deux’ is a complete washout. 

‘Super/Man: The Christopher Reeve Story’ isn’t just a sad story. Instead, it highlights the legacy Reeve left — not just in Hollywood, but through his impact on the world and his children.

If you came in liking or at least getting entertained by the ‘Venom’ films that came before, then ‘The Last Dance’ may just be up your alley. If not, then, there’s something a bit more in store for you.

‘Casa en llamas’ is rapid-fire storytelling at its finest — where clever dialogue ebbs and flows over picturesque views, disguising the deep fractures that lie underneath this Catalan family.

Sundance Film Festival’s ‘It’s What’s Inside’ combines elements of thriller, sci-fi, and dark comedy with fantastic technical work.

‘Woman of the Hour’ criticizes how society treats women, from the criminal justice system to the film and television industry. A true crime drama based on real-life serial killer Rodney Alcala. Now streaming on Netflix.

‘Outside’ tries to carve out its own path, but in doing so, it loses touch with what makes the zombie genre resonate in the first place — primal survival and raw human emotions in collision with a world of viscera and chaos.