Adapted from his popular YouTube series, Kane Parsons' ‘Backrooms’ is less frightening because of its monsters than because of what it presents about memory. The endless maze becomes a reflection of memory itself, trapping its characters inside imperfect versions of the past that they can revisit but never truly return to. 

‘In the Grey’ is a damn good time at the cinema, a breezy heist pic that goes on with its own schemes with such confidence that you can’t help but be swept along.

‘The Devil Wears Prada 2’ may not be a perfect legacy sequel, but it does its best to honor its characters and the world they’re a part of.

‘Midnight Girls’ is more than a film: it confronts the quiet and chaotic life overseas, questioning morality when all you want is to provide for your family, and showing how survival blurs the line between what is right and what is necessary.

Kristoffer Borgli’s ‘The Drama’ is a sharp, uncomfortable, dramedy that reckons with our appetite for forgiveness, with career-best performances by Zendaya and Robert Pattinson.

What is that vision that Lee Cronin brings to his ‘The Mummy’? An utterly vicious, shambling behemoth that is difficult to process how it coheres together, but a visceral one. 

‘Gohan’ is as efficient a piece of mainstream ‘cry and laugh-er’ as it should be, one that both reflects the modern era we are living in, and one that implores us to continue living in the midst of it, even with its difficulties, with our furry companions.

Yoshiyuki Okuyama’s ‘5 Centimeters Per Second’ stays faithful to the original and expands on what made Makoto Shinkai’s film resonate, reflecting on life after two people grow apart.

Arci Muñoz and Kang Dong-Gun find love while running from their past in a romantic drama film that throws its dedication to love stories on the wall, hoping anything sticks. Despite its familiarity, there’s still ‘Sweet Escape’ to find in some of its charm.

‘Ready or Not 2: Here I Come’ is a delightfully fun return to the world, with new characters to enjoy, more of the world to explore, Samara Weaving further earning her scream queen title, and somehow — even more bloody explosions.

Armed with confidence and a sense of extreme escalation, ‘They Will Kill You’ is one hell of a ride that, in its stumbles, still has the guts to entertain.

Jun Robles Lana’s ‘Sisa’ is not your typical Rizalian damsel in distress. It is a masterclass on restraint amidst the horrors of the Philippine-American War.

‘Project Hail Mary’ brings back the old-fashioned math of adding a star, skilled creatives behind the lens, and a best-selling novel together, pushing blockbuster filmmaking forward by working its way back to a time before everyone caught the franchise bug.

 ‘A Special Memory’ asks what happens when love must compete with forgetting. It’s a powerful premise, though the film never fully explores the emotional depth behind it.

Daniel Chong’s ‘Hoppers’ is a charming, wild ride that reminds us of how beautiful and strange our natural world is, and of the power of caring about things — all wrapped up in a weird, fun body-hopping package.

If it wasn’t already clear through A24’s razor-sharp marketing and relentless press circuit, Marty Supreme promised a great deal and, remarkably, it delivers on the inflated terms it sets for itself.

‘The Bride!’ is a creation run rampant, stitching together dozens of different, disparate elements, forming a monstrous (and monstrously entertaining) whole. For better and for worse, there's nothing else quite like it.

The 8th Edition of the Parmata Film Exhibition highlights the creative outputs of the Reading Visual Art class of Melver Ritz Gomez, showcasing young Ilokano talent that pushes the boundaries of cinema through experimental styles and narrative choices.

Bi Gan reaches for the audience with ‘Resurrection,’ a film that dives into a man’s dreams in a world that has stopped dreaming. Each chapter invites us to remember why we keep dreaming — and watching movies.

‘The Loved One’ lays bare how love, in all forms, is (un)questionable, (im)patient, and most of the time, (un)kind.