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.

In satiating my curiosity about Bor Ocampo through ‘Dayang Asu,’ I’ve found a filmmaker who playfully mixes social realities with a comical and gruesome take. It’s the type of film that validates any excitement for ‘Moneyslapper.’

After more than 40 years of rewrites, Francis Ford Coppola's psychedelic and captivating passion project is finally a reality. But at what cost must one keep reaching for the sun, when even the Godfather can't escape the pull of the ground?

‘His Three Daughters’ uses separation as its central theme and intertwines it with the phenomenon of how death brings families together. It’s consistent with its tone throughout the film, but its ending is its biggest weakness.

Transformers One offers an action-packed animated prequel about friendship, resilience, and betrayal that both fans and casual moviegoers will certainly appreciate.

‘The Substance’ is lightning in a bottle, the rare kind of film that exhibits and maintains a rip-roaring, viscera-spewing electricity that sizzles throughout its entire runtime.

Ang Panday’ is perhaps the best example that shows how little distinction there is between FPJ’s on-screen hero, who embodies humility, justice, and selflessness, and his off-screen persona, which made him a beloved figure of Philippine cinema.

It’s interesting to note that despite this having sporadic action scenes and being Saulnier’s least violent film to date, ‘Rebel Ridge’ remains a gripping thriller where the threats of violence had as much nail-biting tension as its eruption.

‘Beetlejuice Beetlejuice’ breezes through the usual tricks and charms of its talents. Nevertheless, seeing Tim Burton corral some career-rejuvenating fun in the age of belated sequel-itis still has its rewards.

‘Talahib,’ just like this film, is a blade of grass in a barren wasteland; it’s there, it exists, but it has no value.

Brocka X Bernal is a love letter to the titular two legends of Philippine cinema, from the stars who loved them and for the generations after who might need a reintroduction.

‘The Hearing’ builds upon the easy ironies and parallels of its premise to create an immersive legal drama that prioritizes victims of abuse and sexual assault above everything else.