‘Cinemartyrs’ does not merely revisit the past but lets it breathe again, to tremble and to speak, through image and sound.

The closing montage is not a final statement, because there can be no final statements in a continued struggle. ‘Bloom Where You Are Planted’ is the rare film that continues long after the credits roll.

‘Open Endings ’ shows an in-depth understanding of systemic restraints, which reflect on the real-life struggles of queer women navigating their places through love, acceptance, and friendship.

 For anyone that loves his films but still misses some of his kinetic flare, ‘One Battle After Another’ is the perfect synthesis of the many sides of Paul Thomas Anderson.

‘The Ride’ is a wasted chance at a crime drama that could have simmered with tension, melancholy, and heart. At just over an hour, it has the speed of a getaway car, but none of the gravity to make the journey matter.

‘Chainsaw Man – The Movie: Reze Arc’ is the wild anime B-movie that its acolytes might be awaiting, imbuing its fantastical ambitions and tight plotting with a tinge of mournful empathy.

Nahahati ang ‘The Last Beergin’ sa iba’t ibang parte ng inuman. Kung naranasan mo na ito, tiyak matutuwa ka dahil tatak Pinoy ang paglalarawan. Hindi sila nag-bar, sa tabing karinderya lang sila uminom, isang baso lang ang pinapaikot, beer at gin ang iniinom, at may sintunadong kantahan ng “Beer” ng The Itchyworms.

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.