Director Akiva Schaffer uses his comedic sensibilities to revive the police squad for 80 minutes of non-stop laughs in ‘The Naked Gun’.

Aside from some structural hiccups, the fourth feature attempt at adapting The Fantastic Four is fittingly the strongest, which means that ‘The Fantastic Four: First Steps’ is an aptly named film.

FilmSpeak begins the Fantasia Festival looking at Ari Aster’s attempts to make sense out of a year (and decade) that doesn’t make sense with his latest dark comedy, ‘Eddington’.

When ‘Superman’ was first announced, and since subsequently teased and advertised, a lot of folks wondered what writer/director James Gunn was going to do to break the genre’s ongoing funk.

The Dinosaurs are back wreaking havoc yet again in the latest Jurassic World instalment. ‘Rebirth’ may deliver some new thrills, but like its predecessors, fails to live up to the magic of the original Spielberg classic.

‘Sorry, Baby’ is just an assured debut in every sense. It is very methodic and well-plotted in its cathartic ambitions, and equally deft, light, and profound. Director Eva Victor is a rising talent, and it already excites to think about what her cinematic instincts will provide us with next.

While Ilya Naishuller remains a cogent action artist who knows how to frame and shoot a succession of kinetically exciting sequences, everything around the action in his latest, ‘Heads of State’, falls incredibly flat.

With a towering performance from Danielle Deadwyler and an assured sense of style, director R.T. Thorne breathes new life into Canadian genre cinema with the thrillingly tactile ‘40 Acres’ and ensures a future for this art form.

The sassy, murderous robot has returned to the big screen in ‘M3gan 2.0’, a sequel that takes the franchise in a brand new direction, but fails to capitalize on the potential that new territory brings with it.

F1: The Movie is a spectacularly entertaining summer blockbuster that yearns to be seen on the biggest screen possible. What it may lack in storytelling, it more than makes up for in its endless entertainment value.

Pixar’s latest, ‘Elio’, is a small breath of fresh air amidst a rapidly homogenizing stream of family films

While Bryan Cranston and Allison Janney give somewhat impassioned performances, Jon S. Baird can’t follow up the same momentum he built with ‘Tetris’ in his latest motion picture, ‘Everything’s Going to Be Great’.

Danny Boyle and Alex Garland re-team for an effective return to their 2000’s classic in ‘28Years Later’. But was this almost three decade wait, worth it?

With a trio of impeccable actors in Howard, Muhammad and Bloom, director Tom Kingsley gives life to what looked like an otherwise dull piece of content in ‘Deep Cover’.

While it may not be as narratively and thematically strong as ‘Past Lives’, Celine Song still delivers a jaw-droppingly affecting meditation on love and its intrinsic connection to life with ‘Materialists’.

The John Wick universe has officially become larger with ‘From The World of John Wick: Ballerina’, a spinoff that is sure to please die hard fans of the action series while expanding the fascinating lore and mythology the franchise has already established.

Wes Anderson culminates his cycle of self-reflexion with ‘The Phoenician Scheme’, a film that throws all of his formal sensibilities out the window, as he looks to break what made him such a revered filmmaker for the past thirty years.

Unsettling and emotionally effective all the same, ‘Bring Her Back’ is a very solid horror-thriller, which has no shortage of stunning emotional beats and set-pieces, merging together into one of the year’s finest so far.

‘Lilo & Stitch’ can certainly be considered one of the best live-action Disney remakes, right up there with ‘Aladdin’. It’s a fun, emotional, and thrilling ride that balances humor with a heartfelt core.

While ‘Jane Austen Wrecked My Life’ boasts solid performances, the array of subjects and themes it explores is far too underdeveloped to make a good movie.