United Kingdom
Through its bleak beautiful cinematography and its off-kilter score, The Settlers is a riveting piece of work that will be among the year’s best films.
The Power of the Dog unfolds deliberately, and purposefully, revealing beauty in the unconventional corners of the narrative and terror in the silence.
Unfortunately, every single second that came before the ending in Alice & Jack was terrible.
A Haunting in Venice is a new direction, going for something more creepily claustrophobic, but doesn’t quite nail the landing.
The 2021 Bafta-nominated short film Femme from Sam H. Freeman and Ng Choon Ping is now a feature, premiering at several film festivals.
For this Toronto International Film Festival, Wilson Kwong reviews the Critic and Humanist Vampire Seeking Consenting Suicidal Person.
Love At First Sight does retain a predictable nature, but by the film’s end, you will want the predictability.
The Royal Hotel is at times a tense and engaging thriller with poignant performances, but sometimes its message feels muddled.
While Haunting of the Queen Mary may struggle to find its sea legs, it culminates into an epic voyage of terror and twists.
The Last Voyage of the Demeter turns in a light Dracula voyage too bound by its stock itinerary to sail into more adventurous waters.
The Mire was a fantastic, tense ride that doesn’t rely on action set-pieces or flashy effects to draw your attention.
Lofty in ambition yet flawed in realization, LOLA is nonetheless an intriguing cautionary tale experiment in lo-fi science-fiction.
A quiet, poignant, and moving documentary, The Deepest Breath is unforgettable.
The Descent: Part 2 falls within the overflowing pot of sequels made for the sake of making a sequel.
The Descent is a film you literally feel, in a league all of its own.