One need not be familiar with first two installments of Takashi Miike’s Mole Song trilogy to derive great enjoyment from Mole Song: Final. For one, the prolific filmmaker excels at catching up series novices and die-hards alike on the past Yakuza-infiltrating adventures of undercover cop Reiji (Tôma Ikuta) without making the exposition feel overly shoehorned in. And two, the exaggerated action sequences, slapstick comedy, and glorious stylistic flourishes are geared to play well for any viewers who value high-quality entertainment. Truly, what’s not to like about a story centered on stopping mobsters from distributing drugs in pasta form, a big-hearted Yakuza with Inspector Gadget legs, and the aquatic equivalent of the eagles from Return of the King? Grade: A-minus —Edwin Arnaudin

After watching Orchestrator of Storms, I can safely say that I am more excited than ever to dive into the provocative filmography of Jean Rollin. Dima Ballin’s and Kat Ellinger’s documentary about the prolific French filmmaker is not without its faults, but it easily succeeds in its mission: to spread the gospel of Rollin and his films. My criticisms lie mostly in both the long-winded and unbroken exposition by the film’s narrator and its many talking heads, and its strictly linear storytelling (I’d like to have seen some sensationalized panache to match the coolness of its subject matter).

Both of these complaints, however, are mostly overcome by the pure artistry of the movie clips that are shared for our benefit and enjoyment, and the loving knowledge of Rollin's friends, family, and fans. All told, Orchestrator of Storms is an informative and stirring portrait of an artist finally getting the due he’s deserved all along. Grade: B-minus —James Rosario

Though Rebekah McKendry’s Glorious is touted as a wild ride of Lovecraftian proportions, it ends up being a single-location film that can’t quite live up to its ambitious concepts. Set in a men's bathroom in the middle of nowhere, the film stars Ryan Kwanten (True Blood), J.K. Simmons' voice, and a glory hole. Kwanten's performance is solid enough that the limited setting and COVID-era production aren't overly distracting, but there just isn't enough meat on the bone to stay compelling. There are hints of Lovecraftian horror, gore, and cosmic terror, but alas they remain mere hints. The obvious budgetary constraints keep the film from leaning too much into its premise, and the over-reliance on Kwanten’s acting and what the filmmakers do with that space yields mixed results. If you’re seeking a terror-filled thrill ride, keep looking. Grade: C —Joel Winstead

Wildly out of place in the Fantasia lineup, Lena Dunham’s Sharp Stick feels decidedly more at home at Sundance, where it premiered earlier this year. The coming-of-age tale of sheltered 26-year-old virgin Sarah Jo (Kristine Froseth, Apostle) experiencing a sexual awakening is well-made and features decent performances from Froseth, Jon Bernthal, Jennifer Jason Leigh, and Taylour Paige (Zola), but the lack of explanation for our protagonist’s extreme naiveté proves consistently frustrating. Random wild plot turns involving players from the adult film industry fail to help matters, and as the narrative gets increasingly out of control, it’s natural to wonder why Dunham felt compelled to tell this particular story — an issue absent from her celebrated debut, Tiny Furniture, and the still wonderful Girls. Grade: C —EA

(Photos courtesy of the Fantasia International Film Festival)