The uber-formalistic approach of The Zone of Interest may strike some as unfeeling and morally empty, but it’s an authentic film.
With the second report from TIFF we are brought three wildly different films, and a TV series, all bold in their individual ways.
While Perfect Days is minimalistic and quiet, almost to a fault, Les Indésirables is a bombastic cinematic experience.
Love At First Sight does retain a predictable nature, but by the film’s end, you will want the predictability.
Siblings Roderick and Madeline Usher have built a pharmaceutical company into an empire of wealth, privilege and power; however, secrets come to light.
In our latest from the 2023 Toronto International Film Festival, Kristy Strouse reviews Irena’s Vow, Days of Happiness and Holiday!
For the 2023 Toronto International Film Festival, Wilson Kong reviews Craig Gillespie’s Dumb Money and Margreth Olin’s Songs of Earth.
The Royal Hotel is at times a tense and engaging thriller with poignant performances, but sometimes its message feels muddled.
Helgeland writes and directs Finestkind with all the right intentions, but it ultimately feels shallow.
For this edition of the column I decided to dive into two of Paul Verhoeven’s interesting and unique filmography.
Solitary, cold, methodical and unencumbered by scruples or regrets, a killer waits in the shadows, watching for his next target in David Fincher’s newest.
It’s been a long time since the world has seen a box office phenomenon quite like Barbie! Lets take a deeper look at what this might mean.
What better way to infuse a rom-com than with the unconditional and irresistible love of dogs? That’s what Puppy Love seeks to do.
Korean Cinema’s Golden Decade: The 1960s brings together an eclectic assortment of films covering many genres, directors, and performers.
Both P.P. Rider and Typhoon Club showcase many aspects of Somai’s signature style, Lee Jutton takes a look at both.