Film Reviews
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.
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.
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.
While Sierra Burgess is a Loser isn’t amazing, it’s worth a watch if you’re into something simple that has a happy ending.
In this report from Toronto International Film Festival, we review Barry Jenkins’ If Beale Street Could Talk, Jodie Mack’s The Grand Bizarre and more!
The Wife is a middlebrow bore, a domestic drama with an intriguing concept that’s made easily forgettable due to the middle of the road direction from Bjorn Runge.
Castle Rock ended on par with a season filled with mysteries, concluding a story filled with intriguing Stephen King lore.
“Are You There Shim? It’s Me, Ian” doesn’t deliver the sort of Shameless panache that the earlier seasons had, but it bodes promising.
Ozark’s sophomore season lives up to both critic and viewer expectations with a complex web of storylines and characters intricately placed to be the visual chess board TV has been waiting for.