Chandler Levack celebrates the vibrancy of Montreal with her lovingly constructed ‘Mile End Kicks’, despite screenwriting and pacing issues that prevent the film from being a memorable tribute to the city.
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While more commercial than her previous films, Chandler Levack’s humanist touch seeps through every aspect of her funny and achingly moving ‘Roommates’, anchored by two brilliant performances from Sadie Sandler and Chloe East.
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Arguably, ‘The Super Mario Galaxy Movie’ may do its job, entertaining fans and younger viewers, but it lacks a heart, and ultimately just doesn’t feel worth the price of admission. At the end of the day, playing these games may be time better spent, allowing viewers to instead immerse themselves as players.
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It’s violent and silly enough to be mildly entertaining, although it’s punching below the original’s previously set standards. Ready or Not 2: Here I Come tries and fails to go big, and goes home as a reminder that less is more.
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Directors Phil Lord and Christopher Miller are back at it again, this time adapting Andy Weir’s beloved novel ‘Project Hail Mary’, delivering a miraculously well-made sci-fi adventure that is as ceaselessly entertaining as it is achingly hopeful.
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What happens when three nuns and a young boy go on a journey across New Zealand? You get one of the best indie movies of the year in ‘Holy Days’.
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Ghostface and his iconic getup are back to terrorize Sidney Prescott yet again in ‘Scream 7’ - a fierce, fun, but ultimately messy sequel that shows a franchise that is beginning to show signs of wear and tear.
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Writer/director John Patton Ford returns with ’How To Make A Killing’, a deliciously entertaining tale of how the pursuit of money and status can corrupt and poison, which showcases yet another stellar turn from Glen Powell.
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After two decades, Sam Raimi finally returns with another R-rated feature in ‘Send Help’, a gnarly, ferocious return to form that will remind audiences what a wildly fun and singular filmmaker he is.
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‘Marty Supreme’, which marks Josh Safdie’s solo directorial debut is equal parts ambitious and assured, making for one of the best films of the year.
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While ‘Eternity’ boasts a compelling concept, the movie’s repetitive structure leaves much to be desired as it trudges through a predictable conclusion with little to no emotional impact.
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With ‘The Mastermind’, the great American filmmaker Kelly Reichardt delivers a tremendous film - one efficiently controlled in its aesthetics and humor, anchored by Josh O’Connor performance.
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Netflix animation aims to deliver another refreshing crowd-pleaser with ‘In Your Dreams’, a refreshing and heartfelt family film about dreams, nightmares and everything in between.
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Writer/Director Edgar Wright is back at it again, this time tackling a remake of ‘The Running Man’, based on the beloved Stephen King novel of the same name. What on paper seemed like a match made in heaven, unfortunately results in an action-packed letdown.
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‘Nouvelle Vague’ may be Avengers: Endgame for the Cahiers du Cinéma crowd, but the film is devoid of any substance beyond the aesthetic recreations of one of the most groundbreaking motion pictures that forever changed cinema.
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Director Bradley Cooper has decided to scale things back for his third feature film ‘Is This Thing On?’, a tender and often very funny comedy that makes great use of its talented cast and emotionally accessible story.
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Yorgos Lanthimos remakes Jang Joon-hwan’s ‘Save the Green Planet!’ with ‘Bugonia’, and the results aren’t as successful as his previous collaborations with Emma Stone, despite its staggering VistaVision photography and solid turns from its lead stars.
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Noah Baumbach reflects on the dwindling nature of stardom in the metafictional ‘Jay Kelly’, which sees George Clooney grapple with the finitude of a career inside an era that Hollywood now rejects.
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Shane Black has fun in the cartoonishly glorious adaptation of Donald E. Westlake’s work with ‘Play Dirty’, containing Mark Wahlberg’s best performance in years as he dons the mantra of Westlake’s most iconic character.
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While ‘Eleanor the Great’ is elevated by a legendary turn from June Squibb as the titular character, the film’s handling of several subjects leaves much to be desired, as does Scarlet Johansson’s direction.
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