With a minimal budget, Mara will satisfy an audience that enjoys jitters, with just enough scares that as you leave the theatre you might dread your next bout of sleep paralysis.
Not bad but rather bland, The King of Thieves is too simply constructed to fully capitalise on its solid cast and compelling true-life crime story.
Carried by a flair for dramatic visual and a remarkable lead performance from Mulubwa, I Am Not a Witch is a fierce and undeniably feminist film unlike anything else in cinemas this year.
Nearly a decade after an occupation by an extra-terrestrial force, Captive State explores the lives on both sides of the conflict.
Summer of ’84 may have been passed over as a cheap Stranger Things knockoff, but there is surprising depth to it if you look beneath the surface.
In anticipation of its induction into the Criterion Collection, we look back on A Story From Chikamatsu, a film with with a sharp focus on the social phenomenons of 18th century Japan.
Let the Corpses Tan is an exhilarating and original work of wild genius that we’ve come to expect from directors Hélène Cattet and Bruno Forzani.
Reviews of Claire Denis’ latest, a film from Bi Gan, and more – straight from Toronto International Film Festival.
By elegantly twisting the tropes of both the road movie and the war movie, The Last Suit tells a familiar story in a fresh manner.
Even though this week’s episode goes a bit downhill, Shameless has plenty of laughs as the Gallaghers try to navigate life, with plenty of room for the cast to shine.
In Paul Dano’s Wildlife, a boy witnesses his parents’ marriage falling apart after his mother finds another man.
Neo-Noir films are full of cynicism, despair and characters who are trying to find a way out of the shadows – here are the genre’s essential films.
Curious about Cuarón’s, Chazelle and McQueen’s latest? From Toronto International Film Festival, here are our reviews of Roma, First Man, Widows – and more!
A Fine Wife is an important film and a conversation starter, giving us a raw inside look at mental illness from the point of view of a loving mate.
The Toybox rises above being completely predictable with some interesting cinematic choices, and the decision to be unapologetically gruesome.