Stunning hand-drawn animation anchors this vertiginous story about life and survival on the edge.

A beautiful film on solitude and freedom of expression. Seeking silence to be who you are.

The only Star Trek film to grapple artistically with the unknowability and incomprehensibility of space with a particular focus on conveying the sheer scale of what could be out in the cosmos.

This needed to be a few degrees closer to LIMITLESS on the magic-drug-subgenre spectrum. The core premise is interesting and I liked the film’s allusions to the racial implications of time travel but a film about time travel drugs really doesn’t need to be so dour and so bogged down in character work that really doesn’t add anything narratively or thematically.

Interactive impossible loop of relationship break-up.

A competently-produced Catholic horror film drawing on THE OMEN, THE WICKER MAN, and THE SHINING. There’s a kernel of an interesting idea at the core of the narrative but the script needed at least one more draft and perhaps would have benefitted from leaning into schlocky rather than self-serious.

The superhero movie that Marvel won’t provide: well-lit, practical effects, strongly defined character relationships and romantic entanglements. Seemingly a commentary on a film market saturated with superhero movies: it feels like Quentin Dupieux had to make a superhero movie because nothing else gets made these days and it was the only way he could tell his absurdist stories about fish concerned with water pollution, a helmet that traps you in your thoughts, and a liquified human’s remains in a bucket.

Mark Cousins’ calm matter-of-fact narration doesn’t impose parallels between Italian fascist propaganda of the 1920s and today’s modern fascist propaganda but instead allows the obvious parallels to speak for themselves.

Ellie Foumbi’s debut feature makes terrific use of light and shadow for its story of trauma, revenge, and forgiveness. Marie (Babetida Sadjo) is haunted by her past trauma and sees it in the face of the new priest, Father Patrick (Souleymane Sy Savane).

Enjoyable as a sweet throw-back to quirky indie comedies of the ‘00s: a little NAPOLEON DYNAMITE and a dash of Kevin Smith.