Eli Roth’s name being attached to ‘Ice Cream Man’ will be enough to grab the attention of many horror fans. But while critics most often fail to connect with his work, Roth’s diehard fans have long jumped in front of the sword to defend him. Ice Cream Man may change all that.
Read MoreAfter making a splash with beloved rom-coms like ‘Easy A’, director Will Gluck is back with ‘One Night Only’, a rom-com that fails to follow through on the potential of its fun high-concept premise.
Read MoreDespite an alluring visual language and decent performances from both Pascale Bussières and François Arnaud, filmmaker Wiebke von Carolsfeld’s ‘Someone’s Daughter’ seems afraid to explore the central topic at the heart of the movie.
Read MoreWhile Seidi Haarla gives filmmaker Hannah Bergholm’s ‘Nightborn’ a real dramatic heft, this Cheval Noir-award winning picture quickly bludgeons the audience with the same old tropes, ideas and irritating shrieks that ultimately signify nothing.
Read MoreTom Holland’s wall-crawler is back on the big screen yet again in ‘Spider-Man: Brand New Day’, an installment that is not only the best entry in the series yet, but one of the best Spider-Man films - period.
Read MoreThanks to its committed performances and an impeccably controlled aesthetic palette, director Nicky Murphy gives us a mockumentary for the ages in ‘I Love Paris’, which can even put What We Do In the Shadows to shame.
Read MoreWhile not without its flaws, filmmaker Corrin Evans strikes the screen with the aesthetically invigorating and thematically rich ‘Corpus’, one of the major highlights of this year’s Fantasia Cheval Noir section.
Read MoreWhile brief, Makoto Ueda crafts a highly playful meta-comedy with ‘You Are the Film’ and awakens our innate love of cinema as a unifying art form.
Read MoreRefn, the renowned Danish auteur’s returns with his first feature film in a decade, coupled with his signature impressionism in ‘Her Private Hell’.
Read MoreJane Schoenbrun tackles a lot in ‘Teenage Sex and Death at Camp Miasma’ that it almost feels like it’s going to collapse in on itself, until it doesn’t and opens up in ways you never expected from the outset.
Read MoreIn yet another display of Christopher Nolan’s ambition, this latest film adaptation of ‘The Odyssey’ marks a new high in Nolan’s already impressive filmography.
Read MoreWhile Mark Jenkin continues his signature visual language and draws career-best performances from Callum Turner and George MacKay, the overall experience of ‘Rose of Nevada’ confounds more than it illuminates.
Read MoreOlivia Wilde’s latest directorial effort ‘The Invite’ is just as hilarious as it is impressive, making for one of the year’s best.
Read MoreThe chaotic Minions are back for the third instalment in their franchise with ‘Minions & Monsters’, a surprisingly charming adventure that lovingly pays homage to the golden age of Hollywood.
Read MoreWhile imperfect in its structure, Carla Simón manages to pull us into a devastating portrait of a young woman searching for the truth amid a fractured family with ‘Romería’.
Read MoreShort, sweet, and blending the old with the new, ‘Jackass: Best and Last’ is less swan song and more victory lap. Longtime fans and new viewers alike will find a lot to appreciate in this theatrical riot.
Read MoreJames Gunn’s DCU continues to broaden its horizons with director Craig Gillespie’s ‘Supergirl’, a flawed, but highly entertaining punk rock superhero film that continues to pave a bright future for this extended universe.
Read MoreJohn Early’s convincing performance as ‘Maddie’s Secret's titular character saves a rather perplexing experience that doesn’t know whether to fully lean into its satirical provocations or seriously explore the protagonist’s secret.
Read MoreAfter a seven year hiatus, Woody and the gang are back on the big screen in ‘Toy Story 5’. Though this sequel is timely in its exploration of toys versus technology, this is ultimately an entertaining, but unnecessary new installment.
Read MoreDespite a committed performance from Mila Al-Zahrani, Haifaa al-Mansour’s ‘Unidentified’ takes a rather irresponsible turn near its final five minutes, which sinks the entire proposition from the acclaimed Saudi filmmaker.
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