‘Conclave’ is an incoming classic that compels audiences to still believe in the power of well-acted, dialogue-driven movies.

‘Moana 2’ makes its valiant effort to live up to the previous film. What lies beyond seems unforeseeable, and how far it will go remains a huge question.

Kiyoshi Kurosawa creates a genre-bender, deftly blending elements of paranoia thriller, psychological horror, shoot ‘em up, and a surprising touch of dark comedy, creating something wholly unique when genre films have become predictable.

‘Happyend’ has this charm to it that resonates with you, even if you're no longer in your teenage years. Or better yet, it becomes a fitting experience of remembering who you once were.

‘Wicked’s’ film adaptation is a rewatchable hit showcasing Cynthia Erivo’s prowess and Ariana Grande’s perfect Glinda-isms. It’s not without a few creative hiccups, but it certainly still defies gravity.

 ‘Mistress Dispeller’ opens with a disclaimer: everything you will witness on screen is true. What follows is a complicated yet real case of infidelity in which the wife seeks the help of an expert to save their marriage. 

‘Tale of the Land’ is an ambitious attempt to connect societal issues such as forced displacement and familial trauma. It didn’t stick its landing, though it’s still serviceable.

‘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.

The film’s elegance cannot be disregarded, with how the ghosts of history loom by and large around its characters. ‘Cu Li Never Cries’ is almost like a faded memory, a transformed picture difficult to fully remember.

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?