‘Anora’ is a tale of two halves: the first half, in typical Sean Baker fashion, explores Ani’s daily life with a dash of romance that often leans into male fantasy. The second shifts to a cat-and-mouse chase with the supporting characters.

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.

‘Super/Man: The Christopher Reeve Story’ isn’t just a sad story. Instead, it highlights the legacy Reeve left — not just in Hollywood, but through his impact on the world and his children.

If you came in liking or at least getting entertained by the ‘Venom’ films that came before, then ‘The Last Dance’ may just be up your alley. If not, then, there’s something a bit more in store for you.

‘They Shot the Piano Player’ blends animation, history, and music into a tribute to Bossa Nova, with Jeff Goldblum guiding us through a journey that unravels the tragedy and mystery of Brazilian musician Tenório Jr.

‘Alien: Romulus’ features the love and care of everyone involved in not only continuing the franchise but also adding a thrilling experience that pushes the narrative that films are still best experienced on the big screen.

‘Kono Basho’ excels at using quiet moments for reflection, and while it may not turn out as smoothly as I had hoped, there is promise in seeing more stories about healing and hope in Philippine cinema.

Deadpool & Wolverine is more than just a multiversal affair in the Marvel Cinematic Universe, it’s a “fare thee well” to Marvel characters that came before under the Fox banner, and a focus on redemption and finding one’s purpose.

‘Twisters’ is a thrilling blockbuster event that would make you feel in awe with the visual spectacle of killer tornadoes, enjoyable characters we can root for, and an overall tumultuous time at the movies.

Kingdom of the Planet of the Apes successfully introduces new characters—both ape and human—who we can get behind, which is the first step in making the audience care enough to see a cinematic adventure.

The Fall Guy isn’t just an ode to the daredevils of the film industry but also acts as a self-aware piece of meta-cinema that caters to the action and rom-com crowd.

Challengers is a well-crafted film with a brilliant screenplay that knows how to humanize and dehumanize its characters in a three-way love affair that is more than just tennis.

Ghostbusters: Frozen Empire feels bloated and struggles to find the balance of showcasing the new characters aside from the main group of the Spengler family.

Ang Manananggal sa Unit 23B’s sensual romance offers something fresh, leaning towards the flesh as a representation of intimacy and longing in the form of people masquerading as lonely creatures of the night.

‘Road House’ is too ecstatic to show us the intense high-octane action set pieces that it forgets to let the characters grow.

For a more Filipino semblance, White Bird: A Wonder Story captures this grandmother-grandchild dynamic of telling wondrous stories with lessons in the vein of “Mga Kuwento ni Lola Basyang.” Apart from the film’s setting, there isn’t that much to go further deep into things, as the film exists as an idealistic reminder of kindness conquering all.

‘Taylor Swift: The Eras Tour’ is a time capsule for Swift about the songs she has written about her life, a testament to her dedication and passion as an artist.

Though Exhuma digs up the predictable, it unearths something more, with the story’s layered turning points saving the film from being deemed run-of-the-mill.

Dune: Part Two exemplifies what a modern blockbuster should be, adding a monumental addition to the reason why films are best experienced in cinemas.

I Am Not Big Bird is a comedic throwback to the late 90s and early 2000s aesthetic, with notable remnants such as VHS tapes and digicams, as well as an ode to outlandish action films from decades past, adding fuel to the parody fire.