Jeremy Marshall

Damian McCarthy’s “Hokum” casts around itself an unease that is somehow both warm and sticky, as we are being drowned in a vat of honey. The third film by the

Jon Favreau's “The Mandalorian and Grogu” is all flash and empty calories, a trifle that makes us mourn when Star Wars actually meant something.

Anthony Maras’ “Pressure” is a comforting film that sings when it allows its actors to find prickly wrinkles in the historical figures we think we know.

Dr Chelsea Accardo at Accardo Endodontics has created an environment where patients are cared for from first consultation to final check-up.

Kane Parson’s “The Backrooms” is an ambitious film that uses internet horrors to depict our collective unconscious made literal in a world gone mad.

Manning Family Children’s secures its status as a life-saving sanctuary for newborns with the expansion of its Neonatal Intensive Care Unit (NICU).

Home is as much a place as it is a feeling passed down through generations of laughter, tragedy and song. Its vessel is people, and for Robin Barnes, “The

Boots Riley’s “I Love Boosters” is an enrapturing and gonzo film; a colorful declaration of art, race, and class as hilarious as it is profound.

Joshua Bailey’s “Stolen Kingdom” throws light on the underground world of urban adventurers and black market thieves at Walt Disney World.

“Toy Story 5” is the least essential entry of the franchise that, despite its creakiness, very nearly makes a convincing argument for its own existence.