5.5
With Freeland, filmmakers Mario Furloni and Kate McLean deliver a small and intimate story embedded within the politics of marijuana legalization, that, while decent, just ends too soon for us to get emotionally involved.
While Devi (Krisha Fairchild) walks around the Cannabis
8.5
Edson Oda’s feature film debut is an arresting contemplation on life. One cannot sit through the film without questioning their values, prejudices and behavior, and reflecting on the triumphs and tribulations they have endured. Through content that incites introspection, Oda challenges the
7
Riders of Justice takes the action-revenge flick to a hilariously dark place by having fun with mental health.
7
Anthony Scott Burns’ sci-fi horror is a nail-biting terror ride for all, but being familiar with Jungian concepts makes Come True all the more cerebral and enjoyable.
4
The Wanting Mare serves better as a model for DIY fantasy and sci-fi filmmaking than as an enjoyable film.
We round out our year-end lists with Raul and his top 10 films of 2020, but fear not, we’ll be back next week with our most anticipated movies of 2021 so stay tuned.
Be sure to click
5.5
Watching Divine Love is like watching a home-run hitter ready up for a bunt. So much power and energy sit in the chest of the film, but it’s never released to its full potential.
Divine Love takes place in 2027 Brazil, where
6
Judy and Punch is a quirky and fun tale about feminist vengeance that is ultimately forgettable due to an inefficient script.
7.5
Rewind is an immediately engaging documentary that offers insights into child sex abuse that you will never forget.
7
Swallow is a meaningful study of mental illness through a captivating, off-the-wall character.
6.5
Gus Krieger’s experimental hip-hop/spoken-word film mash-up makes My Name is Myeisha both memorable and challenging to watch.
In what should be our final year-end list, Raul de Leon ranks his top ten movies of 2019. To read all of our year-end lists, click over here.
10. Marriage Story (Noah Bombach)
With an important story for a country with
7.5
It may not be an autobiography, but by pulling from his theater and film experience, Michalik's creation seems as effortless as Rostand's when Rostand is in his poetic zone.
6
Winter After Winter has substance but not enough activity makes it a mostly tepid watch.
4
An overwhelmingly stagnant watch from beginning to end.
8.5
Famous is an intense criticism of the entertainment industry, full of creative technical brilliance.
