Although some of Not Okay’s provocative ideas don’t land, its witty script and Zoey Deutch’s piquant performance are engaging enough to make this a chaotic and fun ride.
Irma Vep remains highly acute, witty, and metatextual during episodes 5-8, as it covers broader and more complex themes in an entertaining and scintillating fashion.
Moloch implements fascinating ideas about trauma and possession, yet it leaves them and its most striking images to its last act, making the journey a bit tiresome.
Through a revenge film medium and a dream-like visual feast, She Will entrancingly showcases how the past lingers in the ether and earth, both as a curse and gift.
Fair Game provokes and entertains, as well as alluding to Grindhouse classics, thanks to its jolty performances and thrilling sequences.
Minions: The Rise of Gru delivers precisely what one would expect, for better or worse – mindless plot strands with chaotic slapstick sequences.
Rubikon sparks up exciting ideas about morality and mortality amidst a probable “suicide mission,” but falters as it transgresses.
Marcel the Shell with the Shoes On is concise and charming with DIY craftings, albeit some of its allure has faded through its years of production.
The Black Phone is a disappointment; what was marketed as a stripped-down and claustrophobic horror film ends up with ghostly apparitions and IT-esque residue.
Flux Gourmet uses gastronomy and sound to deliver an oddball yet weirdly fascinating eccentric experience that nobody else, but Strickland, could have crafted.