James Wan’s Aquaman and the Lost Kingdom is the last breath of a sinking ship. A haze of ideas flashing before one’s eyes without understanding and empathizing with their significance.

Like the previous movies, ‘Wonka’ plays out as a musical interspersed with magical scenes of chocolate and hope, a constant reminder that everyone with a drive to share their craft with the world gets a golden ticket in life sooner or later.

A weapon-wielding Iza Calzado, a scene-stealing Esnyr, and a blood-soaked Jane de Leon are some of the features you need to watch out for in the latest Shake, Rattle & Roll installment. After a nine-year hiatus, the horror franchise is now making its comeback, delivering a stacked ensemble, intensified scares, and heightened entertainment.

‘Bernadette’ has nothing new nor subversive to offer in the genre. Still, the film knows how to have fun and it does just that.

Miko Revereza's Nowhere Near shows how colonialism erases entire people and structures, even lineages and histories. There's something so potent and human in this memoir about the fear of statelessness and colonial trauma. It is something so spiritual and metaphysical.

Essential Truths of the Lake finds Lav Diaz revisiting moments that are undoubtedly familiar. It’s a story that has been previously presented in more striking fashion, but its present iteration is still an adventure worth diving into.

Even though Love is a Gun is by far from redefining the neo-noir genre, there is still something enthralling about a forlorn man desperately in pursuit of rewriting his fate.

‘All of Us Strangers’ is a hymn for the lonesome, a saving grace that comes knocking at your door in the middle of the night. It is very personal, modern, and queer, tackling the long and winding road of grief but focusing more on its first stage—denial.

For a film about faith and questioning, I think it’s quite ingenious to use the medium of slow cinema to convey its themes because, in a way, there are a lot of commonality with each other in the sense that you have to be ready to embrace both, and you are willing to listen. And one can’t really force either, you have to devote yourself to it.

Amanda Nell Eu's attempts to explore these themes of puberty and womanhood while fusing body horror and adolescence are admirable because ‘Tiger Stripes’ deftly maintains a balance between realism and mythology.

Kim Jee-woon's 'Cobweb' entangled multiple layers of fiction and reality that will leave you questioning what actually happened during its conclusion.

In a film filled with excessive violence and horniness, director Emma Seligman says, "To hell with it.” Men have dominated this genre; now it's queer women's turn to get a slice of the cake, and eat it too.

Barbie underutilized a beautiful paradox: the younger Sasha outgrows Barbie, while the older Gloria finds solace in her. In this odd ballet of circumstances, Barbie is the cord connecting generations.

Gian Arre's debut feature is lackluster on all fronts. It leaves you wanting for more, in the most baffling way possible.

From its direction to the performances, ‘Gitling’ perfectly captures that melancholic and quiet sense of loneliness and the pure joy of finding someone who’ll listen and understand you.

When This Is All Over may occasionally be confused at times, but it shows how you can turn an intimate story of a son who just wants to reunite with his mother into a one big trip.

Oras de Peligro has good intentions of reminding the local audiences about the country's dark history, and reigniting the flames that will prompt people into action, but Lamangan's overstuffed screenplay and rushed production eventually leads to its downfall.

Suzume is a sincere and poignant exploration of humanity's collective grief amid a tragedy. Despite some shortcomings on its story, there’s just something incredibly moving about a young teenage girl making an effort to stop a major tragedy and the deaths of others when she has already suffered the worst tragedy of her life. For once, a Makoto Shinkai film that feels cathartic and soulful.

Between the decent action and humor, overloaded visual effects, underdeveloped characters, and somewhat half-baked storyline, Ant-Man and the Wasp: Quantumania is a perfectly serviceable film that doesn’t quite reach the zany heights of its predecessors, while offering a tease of what’s to come in the MCU’s Multiverse Saga.

Not even Fraser’s comeback as a main lead can save Aronofsky’s “The Whale”, harpooning more on emotionally manipulating its audience to a pitiful lead with a surface-level analysis on obesity, religion, and homophobia.