Hunt for the Wilderpeople
If you’ve been itching for a sign to finally go on that unforgettable summer camping trip, this is it.

On the morning of her birthday, eight-year-old Katja learns what she has been afraid of for a long time: her parents want to separate. Instead of going to school, she takes the train into town to visit her older sister. Her sister tries to explain to Katja why everything happened and how things might continue.
If you’ve been itching for a sign to finally go on that unforgettable summer camping trip, this is it.
With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.
The 'Black Adam' story is a blander copy of 'The Mummy', 'Moon Knight', and other Egyptian films made by Hollywood, taking place in the fictional Middle Eastern Kahndaq.
If Miguel Alexandre were trying to make a revenge story seem dull without using all the effective formulas that work great in this catchy genre, he could not have accomplished his purpose much better than he unintentionally has in Black Island.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
If the message here is that without a support system, grieving people turn into monsters, it’s not really well-delivered and may be flawed as a message itself.