Renée Zellweger gives her best and most vulnerable performance of Bridget Jones in the fourth instalment, ‘Mad About the Boy’ which pieces the titular character’s life back together in the wake of insurmountable loss.
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Ke Huy Quan finally has an action vehicle to his name with ‘Love Hurts’, but his effervescent performance sadly can’t overcome the many hurdles this 83-minute-long affair is sadly stuck in.
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Amy Schumer and Tyler Spindel destroy the joyful nature of screwball comedies with the horrifically unfunny ‘Kinda Pregnant’, which gets progressively worse as its eternal ninety-minute runtime stretches to unbearable heights.
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Christopher Abbott’s towering lead performance elevates ‘Bring Them Down’ from petering out, but the film itself leaves a lot to be desired when it unjustifiably switches perspectives halfway through.
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Walter Salles attempts to denounce Brazil’s military dictatorship in his family drama ‘I’m Still Here’ but accomplishes very little despite a committed performance by Fernanda Torres.
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Keke Palmer and SZA make one hell of a comedic duo in the uproariously funny ‘One of Them Days’, a perfect January surprise for moviegoers looking for pure escapism.
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Leigh Whannell reinvigorates interest in the werewolf through his frequently thrilling ‘Wolf Man’, even if the movie stumbles as it reaches its uneventful conclusion.
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While stars Nicole Kidman and Antonio Banderas give their all in ‘Babygirl’, the film is hindered by a severe lack of chemistry with its lead star and a profoundly miscast Harris Dickinson.
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William Goldenberg energetically depicts Anthony Robles' inspiring story in ‘Unstoppable’, a sports drama anchored by compelling turns from Jharrel Jerome, Don Cheadle, and Jennifer Lopez.
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If you have the time, ‘Wicked’ is a totally worthy afternoon at the movies meant for family and friends. The World of Oz needed a refreshment, and perhaps this wizardly revisit is exactly what the wizard ordered.
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Tyler Thomas Taormina depicts the euphoric chaos of Christmastime unlike any filmmaker has ever showcased in ‘Christmas Eve in Miller’s Point’. Yet there are glaring flaws that prevent it from becoming the next great Christmas classic.
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Despite an assured visual style, Steve McQueen’s latest fiction film, ‘Blitz’, is an often muddled and dull drama that doesn’t know what it wants to say about the central characters it focuses on.
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Clint Eastwood gives aspiring filmmakers a true lesson in shot-reverse-shot with ‘Juror #2’, a gripping procedural thriller on the fallacies of our legal system(s).
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Nick Park and Merlin Crossingham warn society against the use of Artificial Intelligence through the figures of Wallace and Gromit in their latest feature, Vengeance Most Fowl.
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Jacques Audiard attempts to depict the tragic story of its titular character in ‘Emilia Pérez’, but the narrative/aesthetic results are constantly baffling and, more offensively, deeply transphobic.
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Sebastian Stan transforms into Donald J. Trump through the origin story of one of the most crooked individuals in the history of the United States, in ‘The Apprentice’.
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While 'SUPER/MAN: The Christopher Reeve Story' adopts a fairly conventional presentation and a surface-level exploration of the actor’s life, its inspirational (and tear-inducing) qualities are undeniable.
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George Clooney and Brad Pitt keep the charm and fun moving in Jon Watts’ 'Wolfs', even if the movie itself offers mixed results.
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Megan Park’s sophomore feature, 'My Old Ass', is a comfortable and heartfelt coming-of-age dramedy, even if its beats feel all too familiar.
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Steven Soderbergh's latest experimental film, 'Presence' can’t escape feeling like a technical exercise, but is an entertaining one at that. [TIFF 24]
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