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Most of Park Chan-wook's films are romance in their actuality. But Decision to Leave probably is the more traditional in that sense without losing all of his dark and twisted edges. Tang Wei is superb as the multi-layered femme fatale. She's even managed to elevate the film's convoluted yet paper-thin script into something captivating. While still competent, however, the film looks and feels somewhat artificial in some of its fractions.

With some details alterations to suit local context and wisdom, this Indian remake of Forest Gump, unfortunately, doesn't offer anything new. After quite some time, the film then seems to run out of its energy and gets tiresome. In the end, the film feels stretched out longer than it should be.

Bullet Train started off with not quite assuring, but the convoluted plot of the film then began to be interesting to follow. Although originality wasn't the film's greatest forte at least it's still engaging until the very end. The comedy didn't always work, but the action scenes were really fun to watch. Interestingly, the film sometimes more interested in being a character study than the usual action sensation. Brad Pitt owned this film entirely.

Groundbreaking is not what Prey is. But at least it's a worthy addition to the Predator franchise. There are some occasional loose moments here and there. However, Dan Trachtenberg keeps it lean and mean although the film can use a little bit more gore to the amplified its horror which frankly is quite tame. Amber Midthunder's commendable performance is a major key to the film's accomplishment.

While the canvas seems to get broader, Pengabdi Setan 2: Communion basically is a rehash of its predecessor with a different setting. The atmosphere and anticipation build-up are admirable but the flow of the action tends to drag and be repetitive. And like most of Joko Anwar's films, the third act is somewhat half-baked and anticlimactic.

Being lyrical, melancholic, and chalked up with moody cello, it's easy to call Nana being heavily influenced by In the Mood For Love. While the sentiment might ring some truth to it, they're different films altogether. There are some parts when the film veers deep within its artistic sensibility yet signifies almost nothing. Despite that, as a subtle melodrama with a subdued tone and lush visual, Nana still resonates well and is enthralling.

René Vidal might be in his artistic slump, but not with Olivier Assayas. All of his best witts and charms were neatly collated in this Irma Vep post-modern reboot/reimagining/sequel. It took a while to warm up, but when it did, it did well. Alicia Vikander was superbly tantalizing.

There are four interesting stories within 4 Moons that alas weren't smoothly interwoven. I blame in particular it's choppy editing. The stories can feel uneven and disjointed sometimes with most of them being rather underdeveloped or too simplistic.

Andrew is an annoying man who thinks of himself as cute and endearing, while Domino is obviously a figment of the said man's overheated fantasy. Well, you know the drill.

Jane Austen by the style of Bridgerton? Intriguing. As if that wasn't enough, this latest iteration of Persuasion also adds some dash of Fleabag on top of it. On paper, they all seem like a match made in heaven. On-screen? Not so much.

Its creative style of choice feels gimmicky and can be distracting at times. And such a waste of opportunity not to put Henry Golding in Cosmo Jarvis' role instead.

Not only did Dakota Johnson share more chemistry with him, but the former also possessed more nuance and charisma than the latter. Cosmo played his character in a plainly rigid manner. It is utterly unplausible that Anne's deeply in love with him.

With a very basic set-up, The Gray Man actually is offering nothing new. However, as your typical spy-action-adventure, it still delivers some enjoyable thrills with a sufficient dose of humor.

Especially since Gosling, Evans, de Armas and most of the cast seem to have fun with their character. It's just that sometimes the action can wind up blurry in its fast-paced editing. But, overall still a convenient treat from the Russo Brothers.

No one can defy the notion that family is Kore-eda's strongest theme. Broker, which is his first entry into Korean films, is no exception. Conveying his usual melancholic narrative, the film hasn't lost all of Kore-eda charms and wit, although sometimes it can be too subdued to give a more emotional impact.

Kimo Stamboel did his best to deliver a decent horror story with Ivanna. Sadly, the bland, repetitive, and lack of urgency script withhold all of his potentials. In the end, it's an overlong, monotonous, and dull film.

I can see why some people might find this film scary, although that's not quite my case. The scares were formulaic and predictable whilst the dread and atmosphere were diminished by the redundancy of its mockumentary's ploy and the jarring non-linear narrative. And if Incantation aims to deliver some heartfelt emotion, the result was artificial and shallow.

I must congratulate myself for being able to endure this cringefest from start to finish. Neither funny nor romantic, Pasal Kau was an abysmal disrepute effort both from Adrian Teh and Hairul Azreen.

The premise said it was "a tragicomic catastrophe film, a poetic ballad about change and transience." While sounds interesting, The Girl and the Spider were barely that poetic nor really tragicomic.

There are constant actions that happened throughout the film yet nothing significantly happens as well. There are tons of films with banality or trivialism as the plot, but mostly they were also keen on conveying something. The same case cannot be applied to this film.

It was exciting at first and then it got redundant and eventually simply became annoying.

Delightfully funny, charmingly osculating. Emma Thompson is perfect as the fitful Mrs. Robinson, while Daryl McCormack and his vigorous subtlety is the Leo Grande that this film needs.

The senior romance, especially the queer ones, is such a rarity. Therefore, the love story between two discreet grandfathers in Twilight's Kiss is worthy of celebration. The melancholic story might be too subdued for its own good since the emotion was a little restrained in giving a more poignant impact, yet it still feels authentic, heartfelt, and moving nonetheless.

To be honest, Memory was not the best effort from both Martin Campbell and Liam Neeson. The plot's actually quite simple although it's delivered in such a convoluted manner. However, considering Campbell is 78 and Neeson is 70, the film still did a decent job and was quite enjoyable.

Nicolas Cage has massive talent although is definitely not unbearable. This film is ample proof of that. Not the most inventive or creative film ever, of course, but still gave a fresh breath of air with its charming, and sometimes reflective, bewilderment. Kudos to Pedro Pascal for easily being able to complement Cage's frenzies.

How extraordinary! With so a large ensemble and sub-plots, the film still managed to give every and each of them a proper spotlight. Oh dear, how silly of me. It's Downton Abbey. Of course, they can do that. They always did!

You see, I concur with the sentiment that if the Fast and Furious franchise can have a ton of films, why Downton Abbey could not? In fact, I want them to make a spin-off about the Dowager Countess of Grantham's mysterious past. Must be delightful.

A horror film with a go-green spirit that was ruined by an utterly narcissistic ghost. And bad writing and bad directing as well, of course. Had to roll my eyes when a particular scene was unashamedly a shot-to-shot copy of one of Satan's Slave's infamous scenes.

Interceptor is a bland DTV B-movies that was only bearable solely because of Elsa Pataky's charms and unhinged commitment. Plot wise, so nonsensical yet jarring, but been done before with a so much better treatment.

After Host, Rob Savage returns with another chilling found-footage, Dashcam. He played a little different formula here and more or less delivered the same effectiveness in scares and tension. For better or worse, there's slightly more action for those who crave a more fast-paced thrill instead of the slow burn atmosphere.

I must give kudos to the person who has this idea of the gay-yassification of Jane Austen's classic with Fire Island. While occasionally fun and all, it's really hard to see beyond the pride and prejudice of its main character. As the appointed proxy for Elizabeth Bennet and Mr. Darcy, Noah and Will just didn't do their legacy justice. Mainly since they were borderline... unlikable. Thankfully it had Bowen Yang. His back must be hurt from carrying the film by himself.