In his third report from the second annual Film Fest 919, Josh Martin reviews Clemency, The Aeronauts and The Two Popes.
Color Out of Space heralds Richard Stanley’s return, a man given short shrift and who has a great eye for throwback horror and truly creepy cinema.
Glass Cabin is a delectable little horror short reaching into the depths of the human mind, a mind that cannot be trusted.
If you’re willing to take a chance and join Eggers, Pattinson, and Dafoe on their very weird journey, you’ll find it’s worth the trip.
Despite Nat Wolff’s outstanding performance, those interseted in The Kill Team are better off sticking with the documentary.
Although Helen Mirren’s performance as Catherine the Great is good, the miniseries itself was a chore to finish despite weighing in at only four hours.
Noah Baumbach’s incisive and compassionate look at a marriage breaking up and a family staying together.
Succession not just succeeds at expanding the strong foundation that the first season built, it also keeps escalating the stakes, tensions and hilarity.
In his second report from Film Fest 919, Josh Martin reviews Ford V Ferrari, Honey Boy and The Truth.
The Dead Center is one of the more intriguing, effective indie thrillers as of recent memory.
Mirroring the problematic characters it depicts, Big Mouth is a bit of a disjointed mess, hilarious at times and problematic at others.
In his second report from New York’s NewFest LGBTQ, Andrew Stover reviews Cubby, Last Ferry and Second Star on the Right.
Just as Mallo does in the film’s final moments, Almodóvar reaches into the past to find new ways to create, to evolve, and eventually, find glory from pain.
In Bombshell, a group of women decide to take on Fox News head Roger Ailes and the toxic atmosphere he presided over the network.
To kick off the 14th annual Toronto After Dark Film Festival, Bree Duwyn got the joy of viewing three incredible feature films with lots of heart, laughs, and adventure.