Looking back on “the gayest horror film ever made”, Scream Queen! My Nightmare on Elm Street is the kind of documentary you wait all year to see.
Rahul Patel reviews the 2019 Emmys ceremony, considering the highlights and surprises of the night.
With a talented and diverse cast, chills coming from the darkest corners of television and unending potential, Evil is definitely the one to watch.
VHYES tells a poignant story about the odd agency a child can find in television, and the combination of joy and horror that, almost always, follows.
Koko-di, Koko-da is a surprising triumph, a modern fable brilliantly told and performed to expert precision.
In The Two Popes, the conservative Pope Benedict and the liberal future Pope Francis must find common ground to forge a new path for the Catholic Church.
Bloodline is a truly frustrating experience – a few less unneeded twists and turns might have made the whole thing plausible.
Film Inquiry had the pleasure of speaking with Stephen Wilkes, director of Jay Myself, an ode to the life and career of his mentor, photographer and artist Jay Maisel.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.
This TIFF 2019 report focuses more on the stranger side of TIFF, including the films Color Out of Space and The Long Walk.
Although uneven, Always in Season is hugely effective in raising awareness and provoking discussion around racial injustice.
Much like that of a promising get away, The I-Land is stunning on the outside with far less to offer on the in.
The disappointment when Cargo turns out to regurgitate the messages of a Hollywood production despite the unique style can’t be understated.
Brent Goldman covers Toronto International Film Festival films Honey Boy and How To Build a Girl.
Beyond a creative design and trailer, Killer Sofa is an idea that may have been conceived and executed foolheartedly.