If you’re not into a three-hour epic like 'Horizon: An American Saga - Chapter 1,' which may or may not be a nuanced, multicultural (but still White-heavy) look at America then and now, this isn’t for you.

Scarlett Johansson and Channing Tatum bring A-list swooning to a rom-com set against the backdrop of a historic moon landing. Its visual flair and familiar rhythm guarantee a good time at the movies.

Whether it be watching scary movies or going to attractions like Gabi ng Lagim, we love being spooked to death just as much as we love cheesy romcoms. The Thai film ‘My Boo’ is exceptional for the most part, tapping into our twisted fascination with the macabre.

There’s a handful of compelling ideas that can make for a good movie in ‘The Watchers’, but with this being the feature-length debut of director Ishana Night Shyamalan, those ideas are squandered.

The Manila Film Festival showcased four new short films from some of the most talented directors in the industry today: Pepe Diokno (fresh from his Metro Manila Film Festival success with GomBurZa), JP Habac (known for I’m Drunk, I Love You and the recent Love You Long Time), Dwein Baltazar (whose Third World Romance became a streaming and festival favorite), and Sigrid Andrea Bernardo (famed for Kita Kita and whose short film Pushcart Tales has been acclaimed by us as one of her best).

Here are their latest offerings, as reviewed by our staff writers.

Bad Boys: Ride or Die doesn’t have to be a game-changer, but the film could've been so much more if it didn't confine itself to the traditional formula.

‘Inside Out 2’s’ onslaught of jokes is more engaging than the story that prescribes the emotion for you, leaving you no room to feel nor breathe.

‘Tarot (2009)’ combines romance, family, and superstitions, giving us the exact formula to make a stereotypical Filipino mainstream horror film.

Fuchsia Libre’s pursuit of telling a supposedly simple tale of wrestling and reconciliations wraps up in disparate styles and inconsistent tones, giving birth to a genre-hybrid abomination that is utterly confused on what it intends to accomplish.

IF’s mandate of healing adults’ inner children succeeds in everything except one crucial thing: making cinematic imagination fun for kids.

Furiosa: A Mad Max Saga forges a new path for itself, shedding the relentless pace of Fury Road for a more intimate and soulful symphony of vengeance that elevates the emotional gravity of its predecessor.

Monkey Man proves itself legendary, showcasing Dev Patel as a vengeful killer who aims to take down a corrupt government on his own.

Marisa Abela’s Amy Winehouse impression and her music make this film’s formulaic womb-to-tomb story go down easier, but its fundamental basicness is tough to sit through. Moreso for Amy’s lifelong fans.

Kingdom of the Planet of the Apes successfully introduces new characters—both ape and human—who we can get behind, which is the first step in making the audience care enough to see a cinematic adventure.

‘Under Parallel Skies’ is an entertaining romcom with a captivating performance by Janella Salvador, but it takes two to tango.

The Idea of You’ tells us two stories: how more young artists find themselves getting with older people and how the media sets a double standard on women.

Civil War is less about fifty states fighting one another and more about the thrill of capturing chaotic scenes during wartime.

Distance will not make you realize how important family is, nor will it compel you to hug your family after watching it. Instead, the film affirms the emotions that are often suppressed, neglected, or set aside due to societal norms.

The Fall Guy isn’t just an ode to the daredevils of the film industry but also acts as a self-aware piece of meta-cinema that caters to the action and rom-com crowd.

Challengers is a well-crafted film with a brilliant screenplay that knows how to humanize and dehumanize its characters in a three-way love affair that is more than just tennis.