Shallow, bloated, and utterly pretentious, Francis Ford Coppola's 'Megalopolis' is the biggest refutation of the auteur theory since 'Beau is Afraid'.
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Juggling an abundance of style with a surprising amount of substance, 'Escape From the 21st Century' happily exchanges logic for a wild blend of action, hyperbole, pathos, and life-affirming passion. [TIFF 24]
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The beloved sci-fi franchise returns to its blood-soaked horror roots with 'Alien: Romulus' - a sequel that brings back the chills and thrills as it expands the lore of the series.
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Miguel Llanso tackles artificiality and mindfulness in his latest movie, Infinite Summer, the biggest “B-movie with A ideas” the world has seen in this current era.
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Léa Seydoux and George MacKay give compelling turns in Bertrand Bonello’s ‘The Beast’, a sci-fi picture that ultimately loses itself in its massive ambitions.
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The new team of Ghostbusters has returned to the silver screen to rid New York city of more paranormal entities in ‘Ghostbusters: Frozen Empire’, an entertaining follow-up not without its issues.
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The Autobots have returned to the silver screen yet again in ‘Transformers: Rise of the Beasts’, a sequel that maintains the refreshing new tone ‘Bumblebee’ established, albeit with diminishing returns.
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In Marvel Studios’ latest Special Presentation, the Guardians of the Galaxy return for a breezy adventure that sees Drax and Mantis journey to Earth in an attempt to learn more about Christmas. James Gunn has proven that even without the most exciting story, this group are among the best superhero characters on screen today.
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Mali Elfman’s feature length directorial debut, Next Exit thoughtfully navigates our complex relationship with life after death, suggesting that our lack of knowledge may be a good thing.
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If you’re trying to satiate your excitement for the next ‘multiverse’ story from Marvel Studios, you should look into seeing the Daniels’ (Dan Kwan & Daniel Scheinert) new film, Everything Everywhere All At Once. Michelle Yeoh gives a career-defining performance in the film, which marks also marks the return of child actor Ke Huy Quan in a very satisfying way.
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‘The Matrix Ressurections’ puts almost every tentpole blockbuster to shame this year. With dazzling cinematography and meticulously-crafted action sequences, Lana Wachowski, flying solo this time, has created a side to the Matrix universe audiences have never witnessed before.
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In ‘Finch’, Hanks is stranded again, this time in a dystopia where radiation has killed most of life on earth, with a dog as his best friend. Hanks plays Finch Weinberg, one of the last humans on Earth slowly dying of radiation poisoning. While Finch contains a terrific performance from Tom Hanks and stark cinematography, the movie’s predictable re-tread of survival drama tropes makes it a tiring watch instead of a compelling one.
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The entire premise of Lisa Joy’s directorial debut, ‘Reminiscence’, is enough to entice any fans of mind-bending sci-fi films, but in film, execution trumps everything else. An artist can have the greatest idea in the world for a movie, TV show, or book, only for it to be a mediocre experience if the execution of that said idea wasn’t successful.
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In this current, limited, cinematic world full of sequels, franchises, and adaptations, ‘Free Guy’ enters the game as a refreshingly original idea. Guy (played by Ryan Reynolds), a non-player character in the fictional video game, Free City lives a pleasant life as a bank teller, dreams of one day breaking free of his regimented video game existence. In doing so, ‘Free Guy’ crafts what can easily be considered a perfect summer film.
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While “The Tomorrow War” contains explosive action sequences, its undeveloped main story and characters quickly fizzle out.
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While ‘Flashback’ uses the time-loop genre to warn us of predictive data analysis, its message doesn’t fully align with its cryptic story.
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