‘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.

And Yet, You Are So Sweet is a cliché romance that shows us what made shoujo stories decline in the first place, not being able to adapt to present times and its more progressive audience. Watch the other JFF films instead.

We Made a Beautiful Bouquet is anchored by the meet-cute premise of two strangers trying to catch the last train home to Tokyo. It’s a love story that knows its audience well and treats them with care and respect.

The First Slam Dunk stands as a praiseworthy directorial debut from Takehiko Inoue that captures what makes basketball so thrilling to watch while weaving a deeply absorbing narrative about overcoming adversity in order to get that sweet victory.

So much of Angry Son is defined by its breadth and sincerity, and yet, the film falters for it.

Mean Girls is not just a mere copy or another adaptation to avoid; it takes everything from the original and amplifies it all into a louder and more “fetch” movie with catchy tunes to boot.

As the first esports film in the Philippines, GG (Good Game) exposes the often misunderstood and belittled burgeoning industry with visual flair, adrenaline rush, and typical melodrama.

After 60 years of raising the standards for animation, Studio Ghibli auteur Hayao Miyazaki continues to up the ante with his visionary and expansive storytelling. As an iconic film maestro, he not only creates yet another mesmerizing world on screen but also confronts the profound legacy he has woven throughout his illustrious career.

What Firefly speaks well to its audience is a form of sincere storytelling that fully evokes the ageless feeling of adventure.

For a film that tries to come off as having Christian values and even haphazardly throws in a silly portrayal of Jesus for extra points, its message is shockingly nihilistic.