In The Baltimorons, a romance blossoms between Cliff (Michael Strassner) and Didi (Liz Larsen), an emergency dentist who fixes his cracked tooth, while he's on his way to visit his girlfriend, Brittany (Olivia Luccardi) and her family for a Christmas Eve party.  Writer/director Jay Duplass and co-writer Michael Strassner have made a bittersweet, tender and funny romantic dramedy. The screenplay takes its time to allow the audience to get to know Cliff and Didi, but by the time the end credits roll, they feel like complex human beings, warts-and-all. He's a depressed, suicidal recovering alcoholic who has given up his dreams to become a stand-up comedian. She has a daughter and an ex-husband who has moved on to another woman. They initially don't quite get along. He talks a lot, even while she's operating on his teeth, and she doesn't seem that interested in him, especially because she's older than him,  but he's persistent---and also somewhat annoying and mischievous. However, as he grows on her, he also grows on the audience concurrently.

      It's equally fascinating and engrossing to observe how they bond with each other throughout the course of their adventures in Baltimore which go on well into the night. What happens exactly and whether or not they'll end up together won't be spoiled here, but what matters is that you'll be emotionally invested in their relationship. Michael Strassner is like a cross between a young Jim Belushi and a young Philippe Noiret; Liz Larsen is reminiscent of Leslie Manville and Barbara Sarafian. Both of them give heartfelt, nuanced and charismatic performances that will win your heart over. Bravo to Duplass and Strassner for showing empathy toward Cliff and Didi, and for designing a window into their heart, mind and soul.

       If you're looking for a refreshingly un-Hollywood romantic dramedy, look no further than The Baltimorons. It's a great comfort movie and deserves to become a new Christmas classic much like The Holdovers.  At a running time of 1 hour and 39 minutes, The Baltimorons opens in select theaters nationwide via Independent Film Company and Sapan Studio before expanding nationwide on September 12th, 2025. It would be a terrific double feature with Moscow, Belgium, Before Sunrise and Harold & Maude. 

 

       Ed (Patrick Wilson) and Lorraine (Vera Farmiga) investigate paranormal activity that terrorizes the Snurl family, Jack (Elliot Cowan) his wife, Janet (Rebecca Calder) and their daughter, Heather (Kíla Lord Cassidy), in The Conjuring: Last Rites. Meanwhile, their own daughter, Judy (Mia Tomlinson) has strange visions that she desperately tries to suppress, but to no avail. Despite a screenplay by three writers, namely, Ian Goldberg, Richard Naing, and David Leslie Johnson-McGoldrick, the pedestrian plot has nothing new, surprising or clever to add to the Conjuring franchise. Yet again, there's a cursed object, a mirror, that somehow got possessed by a demon. There's an expositional scene where Lorraine explains what's going on and why which provides a modicum of backstory to the demonic possession without enriching the film, though. She and her husband initially retire from their profession as paranormal investigators, but suddenly, they come back from retirement and agree to help the Snurl family. There's a distracting subplot involving Judy and her boyfriend, Tony (Ben Hardy), who wants to marry her, and some heavy-handed and clunky scenes that try to tug at the audience's heartstrings.

      The best aspect of The Conjuring: Last Rites is the production design which brings plenty of atmosphere and creepiness, the highlights being a scene where Lorraine wades through a basement flooded with blood or when Judy tries on a wedding dress in front of a mirror at a clothing store or when blood spurts through garbage disposal in Lorraine's kitchen sink---although, to be fair, those images aren't original either because The Shining does it better.  At a running time of 2 hours and 15 minutes, The Conjuring: Last Rites, directed by Michael Chaves, is visually stylish and atmospheric with great production values, but overlong, uninspired and only intermittently scary. It opens in theaters nationwide via Warner Bros. Pictures.  

Number of times I checked my watch: 3




 

      An unnamed boxer (Orlando Bloom) returns from retirement to train with his coach, Boz (John Turturro), in hope of winning the title at a Las Vegas boxing fight in The Cut. He must lose 30 pounds within a matter of 3 months or else he'll be disqualified from the fight. Director Sean Ellis and screenwriter Justin Bull have made an exhilarating psychological sports drama that also serves as a character study. It's on-the-nose and not very profound, but it does feature a career-best performance by Orlando Bloom and an impressive performance by John Turturro. Both of them manage to invigorate the film even when it begins to get repetitive. The last ten minutes feel especially gripping, disturbing and haunting. The Cut might deter many audiences from pursuing a boxing career. At a running time of 1 hour and 39 minutes, The Cut opens at Cinema Village via Republic Pictures. It would be an interesting double feature with Magazine Dreams, The Iron Claw and The Wrestler.  

Number of times I checked my watch: 1




 

       Democracy Noir is an eye-opening, vital and timely documentary about three Hungarian women who bravely speak out against Hungary's Prime Minister, Viktor Orbán, who's a threat to the country's democracy. Director Connie Field follows Babette Oroszi, a journalist and TV news reporter, Niko Antal, a nurse and activist, and Timea Szabo, a politician, humanitarian worker and journalist, as they expose the government's corruption which Orbán has attempted to cover-up, and the ways that Orbán has actively made Hungary less democratic.  What is democracy, though? What is a functional democracy? Are there any countries with a fully functional democracy?  Democracy Noir doesn't step back at the larger picture to explore the answers to those important questions. However, it serves as a frighteningly similar parallel to Trump's rise to power in the US, so in a way it's both a cautionary tale and the equivalent of holding a mirror up to the U.S. or any other country with a dysfunctional democracy.

      A politician's son once shockingly told me that he thinks it's hard to lose democracy and very easy to gain it, and was angry at me for telling him that he's wrong and that it's the other way around. He also was furious to hear me say that it's important to question the government for the sake of democracy.  Perhaps if he were to watch Democracy Noir, he'd finally realize that he was wrong all along and has failed to understand the concept of democracy along with the importance of questioning the government and holding the government officials accountable for their actions. At 1 hour and 33 minutes, Democracy Noir, opens at Village East by Angelika via Clarity Films. It would be an interesting double feature with What is Democracy? and Apocalypse in the Tropics.

Number of times I checked my watch: 1

      Elie Wiesel: Soul on Fire is a heartfelt, insightful and well-edited documentary biopic about Elie Wiesel, a human rights activist, author and journalist who survived the Holocaust. Director Oren Rudavsky deftly combines interviews with scholars, interviews with Elie Wiesel's family and friends along with archival footage and photos to shed light on Wiesel's childhood, his experiences in the Holocaust and his work as a human rights activist. He spoke out not just about the Holocaust, but also the South African aparted, the Armenian genocide, the Rwandan genocide and other crimes against humanity. Throughout his interviews and based on the accounts of those who've known him, he comes across as a true humanist who's empathetic, compassionate and brave---in other words, a great role model and a decent human being. His decision not to remain silent about difficult, yet important political and human rights issues makes him an important part of both Jewish history and world history. Kudos to director Oren Rudavsky for humanizing Elie Wiesel and for finding the right balance between entertaining the audience and provoking them emotionally as well as intellectually. At a running time of 1 hour and 28 minutes, Elie Wiesel: Soul on Fires= opens at IFC Center via Panorama Films.

Number of times I checked my watch: 1




 

       Claudia (Abigail Donaghy), a precocious teenager living with her mom (Judy Greer) and dad (Rich Sommer) in Silicon Valley where she obsesses over Steve Jobs, yearns to become like him, and to study computer science in Everything to Me. Writer/director Kayci Lacob has made a warm, wise and empowering coming-of-age story with an important message about recognizing your self worth and remaining true to yourself. While it does travel through well-charted territory, at least it travels through it in a way that feels captivating, honest and heartfelt without being cloying, preachy or clunky. The dialogue is sometimes on-the-nose, but that's forgivable because it makes it more palatable and accessible to younger audiences. Judy Greer gives a terrific performance, as usual, and Abigail Donaghy shines in a breakthrough performance. There are more than a handful of genuinely moving scenes between Claudia and her mother, especially during the third act when Claudia gradually faces reality. Victoria Pedretti and Eliza Donaghy, the actresses who portray the young adult and tween versions of Claudia, respectively, are also superb. Everything to Me feels like a cross between Rushmore and Are You There, God? It's Me, Margaret., so if you like both of those films, you'll love this one, too.  At 1 hour and 30 minutes, Everything to Me opens at AMC Empire.

Number of times I checked my watch: 1




 

      At 2 hours, The Legend of Hei 2, co-written/directed by MTJJ and Gu Jie, and co-written by Fengxishenlei and Kexin Peng, opens at select theaters nationwide via GKIDS.

Number of times I checked my watch: 3




 

      Apostle John (voice of Benjamin Jacobson) witnesses the crucifiction and resurrection of Jesus Christ (voice of Ian Hanlin) in Light of the World. Co-directors Tom Bancroft and John J. Schafer along with their co-writers, David M. Armstrong and Drew Barton Armstrong, have made a captivating, family-friendly and beautifully animated retelling of the story of Jesus. It's refreshing to watch the story unfold through the eyes of a young boy, Apostle John, so even adults already familiar with the story will see it from a new perspective. Children will find it easy-to-follow, heartwarming and inspirational. Families will have a lot to talk about after taking their kids to see this pure, engrossing and wonderful animated film. At a running time of 1 hour and 31 minutes, Light of the World opens in select theaters nationwide via Salvation Poem Project.  

Number of times I checked my watch: 1




 

      In Preparation for the Next Life, Aishe (Sebiye Behtiyar), an Uyghur immigrant, falls in love with Skinner (Fred Hechinger), an American soldier, while struggling to make ends meet. Director Bing Liu and screenwriter Martyna Majok have made an engrossing, tender and provocative romantic drama brimming with heartfelt performances by Fred Hechinger and Sebiye Behtiyar. Based on the novel by Atticus Lish, the screenplay doesn't spend too much time on exposition as it briefly introduces Aishe back in China cutting to her getting off a bus in Manhattan. Skinner just came back from overseas where he served in the army and takes anti-anxiety medication and antidepressants. They gradually get to know each other, but they don't always get along. Skinner deals with a lot of emotional pain and often doesn't know how to make sense of his emotions. Aishe seems more emotionally mature than him, but she has issues of her own because she's an illegal immigrant who's at risk of getting deported. She yearns to find happiness and financial stability in America while also hoping to get married to Skinner. However, she's unfamiliar with the bureaucratic process of marriage, especially without her having a proper ID.

      Preparation for the Next Life tackles timely and universal issues like love, happiness, dreams, and the struggles of U.S. immigrants without feeling overstuffed or heavy-handed. Although the film isn't unflinching or emotionally devastating per se, it's honest, nuanced and refreshingly un-Hollywood. The pace moves slowly, but not too slowly, so kudos to the filmmakers for trusting the audience's patience. The poignancy comes from the raw, emotionally convincing performances of Fred Hechinger and Sebiye Behtiyar who do a great job of opening the window into their character's heart, mind and soul, even during Aishe and Skinner's more vulnerable moments. Moreover, the exquisite cinematography provides visual poetry that concurrently becomes a part of the film's substance. All poetry is a form of protest for or against something, so in a way, Preparation for the Next Life serves as a protest for love, happiness, hope and inner peace which are human rights that everyone equally deserves to have. At a running time of 1 hour and 55 minutes, Preparation for the Next Life opens in select theaters nationwide via Orion Pictures.  

Number of times I checked my watch: 1




 

      Connor (Jonah Hauer-King) has a threesome with his crush, Olivia (Zoey Deutch), and Jenny (Ruby Cruz), a random girl they met at a bar, and accidentally gets both of them pregnant in The Threesome. Director Chad Hartigan and screenwriter Ethan Ogilby have made a mildly engaging romantic that's ultimately underwhelming, tonally uneven and shallow without being bold, biting or unflinching enough. The screenplay has an interesting premise that sounds like it could turn into a screwball comedy, but, in execution, the comedic beats result in nothing more than a few chuckles. Moreover, the plot becomes increasingly contrived with clunky dialogue and underdeveloped characters who are hard to care about on an emotional level. There's nothing wrong with unlikable personalities Connor's, but it's a shame to not allow the audience to get to know him, Olivia or Jenny beneath their surface.  The performances are fine,   but nothing exceptional, and the same can be said about the cinematography, editing and production design which all fail to compensate for the lack of substance. In a double feature with the hilarious, bold, witty and sparkling screwball comedy Splitsville, The Threesome would be the inferior B-movie. At a running time of 1 hour and 52 minutes, The Threesome opens nationwide via Vertical.  

Number of times I checked my watch: 3




 

      Connor After the death of her daughter, Mareta (Anapela Polataivao) accepts a job as a substitute teacher at a private high school where she convinces the school's administration to start the first choir where she teaches students traditional Samoan songs.  Tinā. The screenplay by writer/director Miki Magasiva is by-the-numbers and sugar-coated with on-the-nose dialogue and a little schmaltz, but elevated by Anapela Polataivao's warm, radiant and genuinely heartfelt performance. This is the kind of movie where you can leave to go to the bathroom, come back and feel like you could have easily predicted what occured while you were away. There have been many movies about inspirational teachers who change the lives of their students while battling their school's administration. Tinā isn't among the best like Goodbye, Mr. Chips, Dead Poets Society and The Chorus because it doesn't pack as much of an emotional punch, but it's not among the worst ones either. It also overstays its welcome by at least 15 minutes as it clocks past the 2 hour mark.  At a lengthy running time of 2 hours and 4 minutes, Tinā opens at Angelika Film Center vai Rialto Distribution.  

Number of times I checked my watch: 3

      Torn is an illuminating, compelling and heartfelt documentary about the clash between pro-Palestine and pro-Israel activists after flyers of kidnapped Oct. 7th hostages were posted in NYC and all around the world. Director Nimrod Shapira interviews the activists from the grassroots campaign who posted the flyers, family and friends of the hostages, and the activists who witnessed and confronted people who tore down the flyers. You'll learn about how and how the campaign started, how it spread and how sparked the clash between between pro-Palestine and pro-Israel activists. Torn doesn't have anything new or surprising to say about the clash, but it does stress the importance of having a safe space for debate and discussions.Everyone has the right to be indignant, but they have to know how to channel and express their indignance productively in a way that doesn't cut other people's flowers, so-to-speak. So, in a way, Torn serves as a microcosm of systemic issues in the US and around the world: lack of empathy, lack of compassion and lack of safe spaces where people can openly and honestly share their opinions about timely and controversial topics. Tearing down flyers is wrong on many levels and ultimately counterproductive as well as dehumanizing. At a running time of 1 hour and 15 minutes, Torn opens at Cinema Village via Hemdale Film Corp. and Hannover House. It would be an interesting double feature with the documentaries There is Another Way and Promises.

Number of times I checked my watch: 1

      After the death of his twin, Roman (Dylan O'Brien) meets Dennis (James Sweeney) at a support group for twinless twins and begins a sexually-charged relationship with him in Twinless. However, Dennis has a secret that he's hiding from him which will threaten their relationship if Roman finds out. Writer/director James Sweeney has made a funny and engaging romantic comedy that's also a heartfelt exploration of grief. The third act, though, takes a bit of a nosedive with rushed scenes that skip over too many key moments, so the ending doesn't feel organic or plausible. Moreover, the audience knows sooner than Roman does about Dennis' secret, so the beat doesn't quite land when Roman discovers the truth. The screenplay doesn't do an adequate job of making Dennis likable after he reveals his secret because it doesn't show whether or not he's truly remorseful or if he truly understands the consequences of his selfish actions. That said, Dylan O'Brien exudes charisma as Roman and does a great job sinking his teeth into the emotional complexities of his role. He has palpable chemistry with James Sweeney which elevated the film and helps the audience to want Roman and Dennis to stay together at least as friends. At a running time of 1 hour and 40 minutes, Twinless opens nationwide via Roadside Attractions.

Number of times I checked my watch: 2