Dogma is finally back where it belongs, in Kevin Smith’s hands, and once again gracing the big screen in a new 4K remaster for its so-called “25th Anniversary” (actually 26th, but who’s counting).

Sisu: Road to Revenge is a film that knows exactly what it is and runs with it to absurd levels. Gloriously over-the-top, gleefully gory and pushing the boundaries of how silly things can get.

Christy is a tough, uncomfortable, and surprisingly engaging take on the real-life boxer as a person as well as a fighter.

A constantly uncomfortable, darkly funny and extraordinarily intrusive assault on the senses from Mary Bronstein.

Frankenstein is a near masterpiece of emotion, craft, and imagination that reanimates Mary Shelley’s tale for a new generation.

Tron: Ares dazzles on the surface but collapses under its own digital flashiness. It’s gorgeous, sleek, visually stunning, and Nine Inch Nails' score is absolutely incredible.

Lurker is a sleek, tense, and deeply uncomfortable dive into modern obsession, powered by a phenomenal lead performance and sharp, confident direction.

Play Dirty isn’t unwatchable. There are flashes of fun, Stanfield is a delight, and if you put it on in the background while you doomscroll, it’ll do the job.

Americana isn’t a disaster, just a messy, half-baked experiment that juggles too much.

It’s ultimately a hollow spectacle: nice to look at, easy to watch, but not something that will last in your memory.

Honey Don’t! is just a big nothing. A messy, unpolished, frustratingly empty film that squanders its cast, its premise, and its potential.

It’s a crime thriller, yes, but also a cultural statement about power, music, conscience, and the price of success.

It may not dive as deeply as the books, but it remains largely faithful, funny, and watchable, which makes it a masterpiece by Netflix Original standards.

Eddington is a bold, brutal, and hilarious time capsule of one of the strangest, ugliest, and most ridiculous chapters of recent history.

Nobody 2 may be more of the same, but when “the same” is this competent and enjoyable, sometimes that’s enough.

The Pickup is a disposable misfire. It's a nostalgic nod to ‘90s comedies buried under a weak script, uneven tone, flat visuals and wasted cast.

War of the Worlds is a woeful misfire, its bargain-bin effects, incoherent story, and Ice Cube’s misjudged performance sinking a promising premise.

A joyous, laugh-packed reboot, revitalizing the spoof genre with Neeson’s comedic brilliance and Schaffer’s inventive direction.

In this episode of the Film Focus Online Podcast, host Alex leads a lively discussion with guests Jack and Dan about comic book movies in our latest episode of 'The Film Vault'.

Tin Soldier fails to carve a niche in the crowded action-thriller landscape, joining the ranks of forgettable VOD fodder