Charles Barfield

If a filmmaker can’t be bothered to try, then audiences shouldn’t be asked to care.

If you’re a fan of found footage and enjoyed the previous “V/H/S” films, you’ll find enough in “V/H/S/99” to keep you entertained. However, even though the addition of more camp and comedy shows that the anthology series is still evolving, five films deep, you have to wonder how much more tape is left in the cassette in the “V/H/S” franchise?

Steve James’ film not only convinces you to believe that a compassionate spy can exist but also to have compassion for a man who committed a traitorous act. And even though the editorial choices are leading in their execution, it’s no secret that A Compassionate Spy is a moving, thoughtful documentary.

While it’s not a perfect film by any stretch of the imagination, “Clerks III” is an achievement for Smith and definitive proof that the filmmaker is maturing.

In a film steeped in loss and grief, Leonor Will Never Die, as the title implies, is ultimately a beautiful, life-affirming celebration of the power of film and art to heal. Yes, even ‘80s action films.

Speak No Evil might not be a thrill-a-minute film, but it’s effective in a way that many horror movies just aren’t anymore. Watching it evokes the feeling of inching closer and closer to the end of a cliff; at any moment, you feel like you might still escape the situation until you eventually reach the point of no return.

For those just looking for bones breaking, faces getting stabbed, assassins delivering perfect headshots, Kate more than delivers. This film is a solid, fun action-thriller in a world filled with subpar ‘Wick’-ian clones.

Rejoice action fans, Frank Grillo is here to save the action genre, and Boss Level proves that he has the goods to perhaps do just that.

No, it doesn’t make much sense. But holy shit, it’s a wild-ass ride.

Censor is an impressive, visually-stunning, deeply disturbing debut from Bailey-Bond and a showcase for Algar, who gives a truly spectacular performance.

Ultimately, Love & Monsters is a film about picking yourself up, taking your destiny into your own hands, and not being afraid of living, even though you’re likely to make some mistakes along the way. And it’s a damn fun adventure to boot.

If not for the performance of Daddario, Lost Girls & Love Hotels could have been a disaster.

Besides its emotional texture, which will take you by surprise, more importantly, at the end of the day, Becky is a lot of enjoyably perverse fun.

Fun acting, playful imagery, and a catalog of great ‘80s songs should be the winning recipe for a delightful musical. Alas, the Valley Girl remake doesn’t have the musical chops to separate itself from being compared to an overly long episode of “Glee” and definitely doesn’t bring anything new to the film world that will influence movies for years to come, as the original did four decades ago.