Even with Darren Aronofsky’s trademark bursts of violence, ‘Caught Stealing’ sees the filmmaker let loose in his breeziest film yet. Austin Butler has fun running the show as a world-weary drunk pulled into a conspiracy just bubbling under New York in 1998.

There’s an energizing quality to watching ‘Exit 8’ with a crowd or even with friends: the shared gasps, the laughs of relief, and the collective hunt for clues. It is communal, immersive horror done exactly how it should be.

‘The Long Walk’ is not an easy watch, as its stripped down, unflinching viscera might perturb those looking for an expected narrative push within a mainstream Lionsgate production. Stick with its punishing micro lens though, and the film's damaged, beating heart will never not seep through at any moment, as it holds on to the light of life even in the midst of the dark.

Despite concessions to foreign producers, 'Magellan' remains unapologetically a Lav Diaz film, uncompromising in its gaze and staggering in its scope.

Gitawag kini og ‘Pinikas’, pero usa kini nga salida nga buo ug puno og kasing-kasing. Para ni sa mga nanginabuhi para sa pamilya nila ug para sa mga tawong naglisod og kab-ot sa ilang kalipay. Nanginahanglan gyud ta og mga storya nga makakupot sa tinuod nga pagkatawo sa ato pagka-Bisaya, og ipakita ang kalisod sa kinabuhing probinsya.

‘The Conjuring: Last Rites’ is, fortunately, a close return to form. It doesn’t quite reach the level of the James Wan-directed films, but it still reminds us why people flock to theaters to experience a Warren case come to life.

Since premiering around the world, Peterson Vargas’ ‘Some Nights I Feel Like Walking’ has finally come home, building community in independent cinemas around the Philippines.

In ‘Eddington,’ Ari Aster stages the pandemic we all know too well with blunt clarity: what seem like jabs are really tiny snapshots of reality, moments that, in hindsight, are as frustratingly silly as they are true.

‘Posthouse’ is not interested in horror as a subconscious experience, but as something spelled out, explained, and flattened — every terror announced, leaving nothing to linger, haunt, and truly unsettle.

Masarap na Empanada? Check. Masayang Pelikula? Check. Makakarelate ang mga Batang 90s? Check. Ito ang tatlong checklist na magpapasaya sa buong madla sa munting pelikulang ito.

‘The Encampments’ captures the Columbia University student protests for Palestine that ignited a global movement, and has since been met with widespread arrests, suspensions, and expulsions.

 ‘One Hit Wonder’ captures the imperfections of finding the right person at the right time despite the burden of distance, the gravity of passion, and the uncertainties of youth.

The Roses’ is a wickedly funny, relationship-based comedy about the absurdities and pitfalls of married life, led by absolutely stellar comedic performances from Olivia Colman and Benedict Cumberbatch.

Taron Egerton and Ana Sophia Heger light up ‘She Rides Shotgun,’ about an ex-con who must protect his estranged young daughter from a deadly gang. Tender and compelling, this small indie thriller is a diamond in the rough worth checking out.

‘The Life of Chuck’s’ good-spirited empathy and crowd-pleasing tendencies that belie its sharper complications is a balance it walks well towards a central message: wonder and happiness will always be within our reach.

A theatrical release instead of streaming, a runtime on the shorter side of 90 minutes, and a screen filled with gags galore from the opening frame to the end credits; the statement, “They don’t make ‘em like they used to,” doesn’t apply to the new ‘Naked Gun’.

Armed with a sprawling, twisty narrative which overstuffs itself as much as it micromanages, ‘Weapons’ stands out as an equal parts horrific, darkly hilarious, and affectingly unstable image of hidden evils in suburbia.

Source material accuracy notwithstanding, ‘Omniscient Reader: The Prophecy’s’ squandering of character and metanarrative elements reveal a glossy spectacle with lacking heart.

‘How to Get Away From My Toxic Family’ reveals how religious hypocrisy and utang na loob culture reshape the lives of OFWs, as their sacrifices are belittled.

‘Materialists' doesn't break new ground, but it's a necessary reminder of what we're allowing the system to extract from us: our ability to measure love by how it feels, not by what it costs.