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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Tim Fehlbaum’s attempt at criticizing the normative ideals of journalistic objectivity in ‘September 5’ turns into a total and complete failure by being afraid of engaging itself with the backdrop it presents.
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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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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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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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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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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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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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Director David Mackenzie's latest. 'Relay' stars Riz Ahmed in a taut, yet entertaining espionage thriller. [TIFF 24]
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'Queer', The newest film from auteur Luca Guadagnino is sure to leave audiences entranced with its bold storytelling and impressive performances. [TIFF 24]
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Three misfit kids unite to complete the journey of a lifetime in 'The Mountain', a story which effortlessly balances whimsical wonder and relatable realism. [TIFF 24]
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'Hard Truths' is a well-constructed film, heralded by a consistent performance from Jean-Baptiste. With interesting characterizations and a unique plot, this film will leave viewers questioning their own habits and grudges. [TIFF 24]
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Director Edward Berger's 'Conclave' is the kind of film that is a treat, especially so in the current state of cinema. This mature, grounded, and gripping mid-budget thriller is definitely contemporary, but spiritually feels like something that could have excelled more. [TIFF 24]
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Denzel Washington’s ambition to bring all ten of playwright August Wilson’s plays to the screen reaches its peak with 'The Piano Lesson' - a powerful drama with a hint of the supernatural. [TIFF 24]
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