The dialogue-heavy, one-take film, ‘Anino Sa Likod Ng Buwan,’ is a marvel of calculated narrative and technical claustrophobia that will leave you gasping for breath with each frame and grab you by the neck with its unexpected twists and turns.

'Sleepless’ boldly defies the conventional Filipino rom-com formula, offering an intimate look at an enduring love not confined in romance...and opportunistic profit machines.

In Jun Lana’s struggle to make sense of past political conditions, Your Mother’s Son becomes his definitive bomba film: mired deeply in sex, and politically dense in its delirious and lustful desires.

‘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.

‘Godzilla x Kong: The New Empire’ knows exactly what it wants to be: a maximalist monster affair that puts its biggest stars (literally) front and center of a vibrant and epic kaijū fisticuffs.

‘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.

Pushcart Tales is the type of film that could only be possible in a film festival hosted by a supermarket chain, and it unexpectedly provides the conditions for what is Sigrid Bernardo’s best

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.

‘Baghead’ is a full-length adaptation of the 2017 short film of the same name that takes on too much to give us a compelling story. It was better as a short film.

On paper, ‘3 Days, 2 Nights in Poblacion’ is an otherwise nondescript recollection of a memorable time that has interesting leads and better film influences as its ingredients.

Iti Mapukpukaw finds new life on Netflix, breaking through art dimensions and film conventions with its animated exploration of trauma and losing one’s self.

A Glimpse of Forever is problematic not because it abandons romance to convey a message about men’s mental health, but because of how it approaches its subject matter with so much insensitivity and ignorance.

'The Zone of Interest' is an unprecedented triumph that's devoid of gruesome imagery but leaves you deeply scarred enough to internalize evil rather than merely look and listen.

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

While ‘The Holdovers’ may have its shortcomings in the character study of its three lonesome protagonists, it finds strength in its quick-witted, incisive, and endlessly quotable script that strikes the perfect chord between humor and heart.

‘Ikaw Pa Rin Ang Pipiliin Ko’ tells the story of two lovers with a shared love for music but neither does their love for music nor their love for each other feel real. It gives us an unethical romance with an undeniable power imbalance between the couple.

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.

Yasujiro Ozu invites audiences not to be intimidated by this storied classic, rewarding them with observations on family and the inevitability of time that still resonate today.

‘Lisa Frankenstein’ is an engrossing camp that leaves us chuckling for almost 2 hours. It's arguably the best we’ve ever seen from Liza Soberano because she carried the film, exceeding her Hollywood co-stars. Now showing in theaters.