Robert Zemeckis teams up with Tom Hanks and AI, but the garish experiment simply becomes non-linear, static and a complete miss. The resulting film is ‘Here’, and it is just as baffling as you think.
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Andrea Arnold turns her social realist lens into a magical one with ‘Bird’ and fails at drawing any meaningful arcs on its central characters despite a constantly assured stylistic touch.
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Eddie and Venom are back on the big screen for one final adventure in ‘Venom: The Last Dance’, a conclusion that is emotionally limp and easily the weakest of the trilogy.
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Mohammad Rasoulof confronts and rejects state propaganda in his daring and courageous The Seed of the Sacred Fig and makes the most critical piece of political media of the decade so
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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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The aptly named ‘Smile 2’, Parker Finn’s sequel to the successful ‘Smile’ offers new themes and great performances, although it can still a feel a bit too familiar.
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While ‘Goodrich’ is nothing completely unique, it flourishes due to the charisma and gravitas of Michael Keaton, resulting in a tried-and-true kind of family drama, amplified by scattered moments of genuine resonance along the way.
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Art The Clown is back to terrify audiences yet again in 'Terrifier 3', a sequel that is not only bloodier than its predecessors, but more entertaining and ambitious as well.
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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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After making a billion dollar splash at the worldwide box office in 2019, director Todd Phillips and star Joaquin Phoenix have returned to Gotham with 'Joker: Folie a Deux', a sequel that is as bold as it is incredibly frustrating.
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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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Kate Winslet gives one of the best turns of her career as renowned photojournalist Lee Miller in Ellen Kuras’ feature directorial debut, 'Lee'.
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Samara Weaving keeps the blood count piling up in E.L Katz’s 'Azrael', but the film’s silent gimmick hampers its momentum.
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Sebastian Stan continues to do great work in the independent sphere with an often engrossing, though underwhelming, character study in Aaron Schimberg’s ‘A Different Man’.
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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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While director Natalie Erika James imbues 'Apartment 7A' - her prequel to Rosemary’s Baby with enough surreal imagery to keep us invested, it’s unfortunately hampered by an uninspired – and predictable – story.
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Director David Mackenzie's latest. 'Relay' stars Riz Ahmed in a taut, yet entertaining espionage thriller. [TIFF 24]
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Every few years, an animated film hits screens everywhere and children and adults alike, are spellbound. 'The Wild Robot', based on the popular children’s novel of the same name, is undoubtedly one of these films. [TIFF 24]
Read More![‘Saturday Night’ Review: Reitman Resurrects the Rabble of 30-Rock Originators [TIFF 2024]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/5e3b25f7-af2b-4326-a93f-13753055ff44/GUYY11iWgAITMyL.jpeg)
For 50 years Saturday Night Live has been the bedrock of late night comedy, but the story of its premiere night is apparently crazier than any sketch. Director Jason Reitman brings the rabble of 30-Rock originators back to life in 'Saturday Night'. [TIFF 24]
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