Dayo Wong continues his Robin Williams trajectory in Anselm Chan’s The Last Dance.

Red One is four quadrant filmmaking that misses all of them most of the time.

Looking for a new career? Check out Cesium Fallout and consider the civil service.

Sean Baker’s Anora is the sex worker rom-com Pretty Woman should have been.

If you've got a 10-year-old that needs a history lesson, White Bird: A Wonder Story is that lesson.

Tom Hardy and Kelly Marcel give Venom a fitting if scattered send-off in Venom: The Last Dance. We think.

GL goes deep space and underwater in Thanadol Nualsuth’s Uranus 2324, Thailand’s first semi-scifi epic.

Director Parker Finn and star Naomi Scott top Smile with more gore, more scares and more brains in Smile 2.

Kudos. Sean Wang's Didi in Didi is one of the movie's most insufferable kids ever.

Go For Broke is basically Wolf Hiding Pt II.

The final 30 minutes of High Forces is bananas in a great way.

The Substance is angry, cathartic, "Fuck you" filmmaking of the best kind and Demi Moore is a treasure.

Juan Pablo Di Pace and Andrés Pepe Estrada might be the Spielberg and Lucas of South America. Without spaceships.

Fair warning: Joker: Folie à Deux isn't much of a musical. Or a movie.

Chen Sicheng's Decoded asks a lot of viewers, such as "What is this movie about?"

It's unsexy times all around in The Chronicles of Libidoists.

Ryoo Seung-wan + Hwang Jung-min = Ka-ching! Or at least it should for I, the Executioner.

Stunt twins Albert and Herbert Leung travel back to the bad ol' days of Hong Kong action in Stuntman.

Tetsuya Chihara proves the spiritual link between design and filmmaking in Ice Cream Fever.