Film Reviews
After the Wedding wants nothing more than to be a tearjerker, but the emotions run cold and the twists are all for show.
Bree Duwyn covers the second half of the first season of Carnival Row, in which the show’s writing increased in quality.
Je T’Aime Moi Non Plus is another fitting example of what made Serge Gainsbourg such a unique and, yes, controversial talent.
The Day Shall Come really comes close to approaching greatness, so it’s even more of a shame that it sputters as it reaches the home stretch.
if Abominable is any indication that Dreamworks is eager to reinvent their brand, bright things could be ahead for this powerhouse studio.
Gemini Man smears a lot of fancy tech all over an empty and tiresome thriller.
My Zoe goes beyond expectations by delving into the emotional ruins of conflicting morality with such perfection, and proves Julie Delpy to be a truly remarkable filmmaker.
Kristen Stewart surrenders fully to the character, embodying Jean Seberg to an almost unearthly effect.
A coming-of-age film which strives for irreverent authenticity, Our Ladies ends up clunky, a little cringey and uninspired.
More reviews from LFF 2019, including the directorial debuts Babyteeth and Calm with Horses, as well as Olivier Assayas’ Wasp Network.
With a return to its roots, AHS 1984 is stronger than it has been in a long time, delivering the horror and the entertainment of genre films of the past.
Not only does White Riot present a compelling case of why the fight against racism isn’t over, it makes you want to join in.
The remake of Jacob’s Ladder is a simplistic but overly convoluted horror with no thrills and spills.
Velocipaster would have worked better as a short film. As is, it pulls itself into too many directions with random plot lines.
Night Hunter’s stellar cast, skilled musical score composers, and a solid set of inspirations combine to little beyond an uninspiring drama at best.