United States
I Think We’re Alone Now is a beautiful slow burn drama with a beautifully eerie atmosphere and striking performances from Dinklage and Fanning, ruined by an unruly mess of a third act.
Smallfoot is desperate to entertain its audience with musical numbers, visual gags, and rapid-fire dialogue without paying that same attention to character or stakes.
Living in the Future’s Past gives viewers the chance to see what they can do to contribute in the fight against a growing problem within our society.
The Predator is a brainless, tone deaf picture, that is quite easily the worst thing writer/director Shane Black has ever laid his hands on.
A Star is Born announces Bradley Cooper as the next great actor-director, but Lady Gaga is by far the beating heart of his directorial debut.
Dan Fogelman’s Life Itself has heart, but it’s ultimately too shallow in execution to support his grander ambitions.
Offering a backstory to the infamous tale of Arthur and his Knights of the Round Table, Excalibur excels in its fantastical showcase delivering a story that is still fresh and grand today.
In a decade over-saturated with cheap nostalgia, it is a delight to see a film about the 90s that doesn’t try to be about the 90s; Mid90s tells a timeless story of self-discovery.
A hard pill to swallow, Assassination Nation is a blunt, antagonistic, but masterful film, guided by a director who can so easily weave in between political horror, social injustice, dark comedy, and teen comedy.
Despite the attempt to be original with a subtly spooky fogginess, Slice is a sluggish creation, doling out little bits of plot information at an unhurried pace.
Though Nappily Ever After begins as encouragement that Black women embrace their natural beauty, it soon feels like a judgment of women who put effort into their appearance.
Jane Fonda in Five Acts celebrates change and transformation, and is as inspirational as the iconic actress at its centre.
The House With A Clock In Its Walls has a sense of mischievous fun, with a hearty serving of chills and chuckles to overwhelm any shortcomings.
The documentary Love, Gilda proves that the comedy legend Gilda Radner made laughter the ultimate form of self-defense.
Disappointingly, Peppermint is a film that feels thrown together, poorly edited and overly clichéd, with a failed take on the female vigilante.