For a prequel, ‘A Quiet Place: Day One’ doesn’t have anything enlightening to disclose.

‘Twisters’ is a thrilling blockbuster event that would make you feel in awe with the visual spectacle of killer tornadoes, enjoyable characters we can root for, and an overall tumultuous time at the movies.

Transmuting radical experiences into something so horrific but tenderly empowering, Jane Schoenbrun's second feature asserts why they are one of the most uncompromising and original directors working today.

Lily Gladstone and Isabel Deroy-Olsen compel with subdued performances in Erica Tremblay’s debut narrative film.

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.

Beyond the charms of Alan Cammish and Alex Diaz, ‘Glitter and Doom’ fails to marry its cinematic ambitions with its surreal universe in this jukebox musical of songs by the Indigo Girls.

‘The Garfield Movie’ runs on the same effort as Garfield himself would exert, but you’ll be glad to play it for the kids while you scroll on your phone, do errands, and recognize familiar voices and cute characters.

‘Hit Man’ isn’t a huge hit nor a gigantic miss, but it showcases Powell’s immense skills as an actor and how Linklater has still got it as a director with no signs of stopping.

‘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.