The Wiremen 

Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.

Dead Poets Society brilliantly combines defeat and optimism, rejection and love, craziness and daring, fear and freedom.

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

Can a homeless yet optimistic teenage girl learn to accept a helping hand?

Pressure is an unambiguously great movie, lead by convincing performances, a well-crafted script, good direction, and at least some social awareness.

New horror film "Pretty" is good to look at thanks to 19-year-old director Metecan Duren.