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Before getting into the review itself, I want to acknowledge and appreciate that POSSIBILITIES is presented with open audio description throughout. As someone who doesn’t personally rely on audio description, I recognize how meaningful that access can be for blind, low-vision, and visually impaired viewers, while also making the film’s commitment to inclusion part of the experience for everyone watching. Most people know the first act of Helen Keller’s life, and far too little about everything that followed. POSSIBILITIES works to fill in that gap with a documentary that isn’t interested in retelling the familiar story. It uses Keller’s legacy as a starting point, then moves toward the blind and low-vision artists, professionals, advocates, performers, educators, technologists, and everyday adults whose lives speak to a larger idea of independence.

LUCKY STRIKE builds tension around a battlefield that feels almost quaint by modern standards, then treats that like a lifeline, a weapon, and a prayer all at once. A wounded American soldier is trapped behind German lines during the Battle of the Bulge, separated from his unit, surrounded by enemy movement, and dependent on a Motorola SCR-300 radio to survive long enough to make it home. That kind of premise can turn into the idea that survival comes down to cold air, bad odds, and the thin hope that someone on the other end of the signal is still listening.

FOR THE LOVE OF A WOMAN understands that family history rarely comes with a perfect explanation. It comes through fragments, omissions, letters left too late, and people who spent decades surviving choices they never learned how to name. Guido Chiesa’s adaptation of Meir Shalev’s THE LOVES OF JUDITH reaches for that uneasy space between mystery and inheritance, following Esther Horwitz, an American woman in the 1970s whose mother’s death sends her toward Israel and toward a buried story from British Mandate Palestine. The movie has the shape of a romantic historical saga, but its better instincts are quieter than that. A daughter trying to understand why love, shame, and silence have been passed down to her like family property.

There’s a meaningful, painful story buried inside THE GOAT, and the frustrating thing is how often the film seems to know it. Ilaria Borrelli’s English/Arabic language drama has urgency, anger, and a young lead performance strong enough to hold attention, even when the movie around it keeps buffing complex issues down to blunt dramatic points.

The woods in CAMP don’t feel like an escape from the world. They feel like a place where every bad thought is more like an echo. Avalon Fast’s latest feature takes the familiar idea of a summer camp horror movie and pulls it apart until something different, sadder, and more personal remains. Cabins, campfires, counselors, rituals, secrets in the trees, those ingredients are all there, but CAMP isn’t built around the usual slasher expectations. It’s more interested in how grief mutates when someone is too young to understand it, too guilty to process it, and too desperate for absolution to recognize the danger in being welcomed too quickly.

Wim Verstappen’s 1972 Dutch satire arrives in its restored Cult Epics edition with provocation, made in the aftermath of BLUE MOVIE and carrying many of the same era’s obsessions with sex, commerce, liberation, and rot. The result isn’t an easy rediscovery. It’s blunt, unpleasant, dry, funny, occasionally brilliant, and often so committed to making its audience squirm that entertainment becomes almost incidental to the attack.

Some physical media releases are about preserving great cinema. Others are about preserving a moment when it took chances, got weird, heavily synthesized, acted questionably, and somehow became immortal. MORTAL KOMBAT KOLLECTION belongs proudly to the second group. This Arrow Video release doesn’t make a case that both original live-action MORTAL KOMBAT films are secretly pure cinema waiting for critical reappraisal. It does something more useful. It treats them as objects of fan memory, genre history, studio ambition, arcade-era mythology, and pure 90s excess. On that level, this set is an absolute beast.

A beautiful image can only protect a character for so long. SKIN OF YOUTH is filled with images that glimmer, ache, seduce, and sting, but the longer Ash Mayfair’s second feature goes on, the more its beauty starts to feel like it's trapped inside a story that keeps choosing pain as its language. This is a visually commanding, emotionally sincere film with clear personal conviction behind it. It also becomes frustrating in the way it repeatedly pushes its transgender lead through brutality, humiliation, and sacrifice until the character’s humanity sometimes has to fight against the movie’s own appetite for suffering.

War films often return to the same ideas because those images are so impactful and clear. Soldiers, weapons, destroyed buildings, emptied streets, families running, bodies waiting to be counted. ANIMALS IN WAR doesn’t ignore any of that devastation, but it changes the point of entry. The film looks at Russia’s full-scale invasion of Ukraine through animals caught inside the human-made catastrophe, and that is more than a framing device. It strips war of its arguments, slogans, strategies, and excuses until all that remains is harm spreading outward from people who started it to every living thing forced to endure it.

A gun can make a coward look dangerous for a while. That’s the “joke” running through AESTHETICS OF A BULLET, a yakuza film that understands power less as something possessed than something carried out by men desperate to be mistaken for more than they are. Sadao Nakajima’s 1973 film has the feeling of a crime film, but its real target is the fantasy of importance. It’s about a man handed a suit, a gun, and money, then sent into another gang’s territory as human ammunition. The tragedy is not that he doesn’t know he’s expendable. The tragedy is that, even knowing it, he can’t help but admire the disguise.

As an experience, there’s a version of A MAN COULD GET KILLED that almost would have worked by accident. Because James Garner had the kind of screen presence that could make confusion feel like a reasonable state of being. Drop him into Lisbon, surround him with smugglers, diplomats, mistaken identities, stolen diamonds, suspicious people, badly timed assassinations, and enough shifting loyalties to make the plot feel like it’s being rewritten mid-chase, and he still gives the film a center.

YOU LIGHT UP MY LIFE is remembered because of what escaped. The title song became a cultural artifact, the Oscar winner, the radio staple, the piece everyone could identify, even if they had never seen a frame of the film from which it came. That imbalance is impossible to ignore while watching the movie now, because the song has a clarity that holds everything together. The music knows exactly how to rise. The movie keeps looking for its footing.

FAST FORWARD has the confidence of a movie that believes sheer effort can overcome almost anything. That shows up in the characters, the choreography, the soundtrack, and even the film’s more awkward turns. It doesn’t have the same level of esteem as the decade’s most famous dance films, and it’s rarely subtle about where it’s headed. But, unquestionably, there’s a sincere electricity running through it that keeps the whole thing from becoming just another forgotten 80s curiosity. It’s corny, bright, uneven, determined, and often far more charming than the formula should allow.

Some action movies feel like they survive their because of their dents and bruises. COLD STEEL is one of those rough 80s cop thrillers where the flaws are easy to spot, sometimes impossible to ignore, but ultimately, they don’t come close to erasing the strange appeal of watching it push against and through its own limitations. It’s too uneven to call overlooked greatness, too clunky to pretend its story mechanics are perfect, and too personality-packed to dismiss as disposable. The movie lives in that chaotic middle ground where a few sharp edges, a few bizarre choices, and some hard-hitting action keep it from falling off the ledge whenever the drama stalls.

THE MASTERMIND is a heist movie only if you’re willing to accept that most of the genre’s usual expectations have been removed from the room before the robbery begins. Kelly Reichardt isn’t interested in planning, thieves, execution, or the fantasy that crime can become an elegant expression of intelligence. Her version of the art theft movie is smaller, stranger, and more irritated by confidence. It follows a man who thinks he has found an answer to his life’s failures, only to prove that stealing the paintings might be the easiest part of the crime.

SUNSET has a premise that sounds like it should be impossible to fumble. Wyatt Earp, living out his final days in old Hollywood, works as a technical adviser. At the same time, silent-era cowboy star Tom Mix plays him on screen, and the two men end up pulled into a murder mystery involving studio corruption, movie glamour, and dangerous secrets. That setup is so powerful that the movie earns a certain amount of patience just by putting James Garner and Bruce Willis in the same frame. The strange part is that SUNSET is often most enjoyable before it becomes too invested in the murder it wants them to solve. The idea is stronger than the plot, the leads are more interesting than the case, and the Hollywood setting has more personality than the script can organize.

CRIME 101 has the confidence of the biggest crime-thriller stories ever told. The cars shine, Los Angeles looks expensive and lonely, the criminals speak in the expected tones, and nearly everyone seems trapped between pride and exhaustion. Bart Layton’s adaptation of Don Winslow’s novella wants to be a heist movie with a cool surface and a bruised interior, and for a decent stretch, that carries it. The problem is that CRIME 101 keeps mistaking size for depth. It has the bones with the cast, setting, style, and genre, but at 140 minutes, it often feels like a 110-minute thriller wearing more of a disguise than it needed.

LOVELINES is the kind of 1980s teen comedy that seems less like it was written than pieced together from everything the era assumed young audiences wanted thrown at them at once. Rival high schools, pranks, horny side characters, fist fights, a Battle of the Bands, a forbidden romance, a protective brother built like a human wall, and Michael Winslow running a mysterious phone service all compete for control of the same 93 minutes. The movie rarely finds a strong enough reason for all of this to exist together, but there is still something weirdly watchable about how much it crams into the frame. It’s more like a half-busted jukebox that keeps skipping to the strangest possible track, and sometimes that’s enough to make it harder to dismiss than it probably deserves.

DI’ANNO: IRON MAIDEN’S LOST SINGER doesn’t examine Paul Di’Anno like a trivia answer in Iron Maiden history. It treats him as a man whose voice helped define a movement, whose life was scarred by bad decisions and bad luck, and whose final years deserved more than a footnote beneath the shadow of a much larger band. That distinction matters because this documentary could easily have become another fan-service extension of metal mythology, built around famous names, archival clips, and a familiar rise-and-fall. Director Wes Orshoski aims for something more intimate, following Di’Anno through a late-life stretch marked by failing health, financial desperation, humor, anger, gratitude, and a return to the stage that feels both triumphant and painful to watch.

AUDITION is one of those horror films whose reputation can almost work against it. The shockwave of it has traveled farther than the movie itself, turning certain images, sounds, and twists into the kind of cultural shorthand that makes new viewers feel as if they already know what they’re walking into. That familiarity doesn’t lessen the impact, though. If anything, it makes Takashi Miike’s patience feel even crueler. AUDITION doesn’t survive and thrive because of one infamous stretch. It survives because the entire film is built like a lie someone tells themselves until reality finally pushes back.

MARLOWE has the appeal of a movie caught between inheritance and reinvention. It carries the name of one of detective fiction’s great private eyes, borrows its bones from Raymond Chandler’s THE LITTLE SISTER, dresses itself in late-sixties Los Angeles, and then hands the role to James Garner, an actor whose natural portrayal works both for and against the material. The result isn’t one of the essential Philip Marlowe films, and it never quite shakes the feeling that it’s living in the shadow of stronger noir predecessors and more adventurous revisionist detective stories that would arrive soon after. There’s enough charm and curiosity here to make MARLOWE an enjoyable, if uneven, piece of transitional noir.

GOAT GIRL really explores the deepest ideas in the confusion adults leave behind when they expect children to accept the world without explanation. Writer/director Ana Asensio’s sophomore feature has a clear affection for childhood wonder, but it’s not interested in treating that curiosity as empty or pure. Elena, played by Alessandra González, is eight years old, preparing for her First Communion in 1988 Madrid, and trying to understand death, faith, class, prejudice, family tension, and the rules adults enforce with very little patience. That’s a lot for one film to carry, and GOAT GIRL is most successful when it lets those ideas thrive through Elena’s emotion, her questions, and the uncomfortable silences that follow.

THE VOICES OF OUR MOTHER understands that horror is more volatile than a family home after a medical emergency. A parent’s decline has a way of dragging old roles back into place, forcing adult children to become caretakers, witnesses, rivals, and frightened kids again, sometimes within the same window in time. Writer/director Mark O’Brien’s supernatural horror film uses that pressure as its foundation, then turns it into something darker. The house doesn’t just hold memories. It holds an accusation. It holds an obligation. It holds the kind of resentment that can outlast the people who caused it.

The funny thing about PETER ASHER: EVERYWHERE MAN is that the title itself sounds like an exaggeration at first, until they start sharing the receipts. Peter Asher wasn’t merely nearby when modern popular music kept changing shape. He was in the room, at the microphone, behind the glass, near the contracts, beside the artists, and often connected to the next major shift before anyone understood what it would become. Directors Dan Geller and Dayna Goldfine don’t approach him like a household name everyone already knows. They treat him as the rare figure whose name may not always be familiar, even though his fingerprints are all over the artists, careers, rooms, and relationships that shaped multiple generations.

The first emotional breaking point in AFTER THE ACT isn’t presented as a confession. It’s more of a temperature change. Sam and Mia are in the same apartment, sharing the same routines, moving through the same space, and yet something has already shifted before anyone says it out loud. That is where Sarah Jayne Portelli and Ivan Malekin find the film’s most effective lensing. They’re not looking for the explosive aftermath of betrayal as much as the quieter, more uncomfortable stretch before language catches up to instinct. Someone senses a lie. Someone else tries to manage the room. A relationship that has become too familiar starts looking strange in its own reflection.