Kane Parsons breaks into the Hollywood scene by adapting his own ‘Backrooms’ YouTube series into a surprisingly intelligent and aesthetically thoughtful feature film.
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Despite a solid cast and assured photography, Olivier Assayas fails to meet the moment with ‘The Wizard of the Kremlin’, delivering a complete nothingburger that has no idea what it wants to say about the figures it presents.
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Aleshea Harris deconstructs the traditional tropes of revenge cinema through an adaptation of her own work in ‘Is God Is’, and intelligently prompts us to reflect on what this unnecessary bloodletting means in the eyes of her two tormented twins.
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Although muddied by some strange editing choices, Billie Eillish and James Cameron deliver a 3D experience akin to a shot of adrenaline with ‘Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D)’, after nearly two years of touring her third album.
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Thanks to the on-screen talents of Sally Field and Lewis Pullman, Olivia Newman overcomes many of the inconsistencies that plague the filmed adaptation of ‘Remarkably Bright Creatures’ and turns it into a relatively charming affair.
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Thanks to heartfelt performances from Robert Aramayo, Maxine Peake, and Peter Mullan, Kirk Jones’ ‘I Swear’ overcomes its clear Ken Loach visual inspirations and draws an uplifting portrait of finding purpose in raising awareness of the difficulties of Tourette’s syndrome.
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Three movies in, and Skydance Animation isn’t inspiring much confidence with ‘Swapped’, a beautifully animated but predictable, risk-free friendship tale offering little to no value to both young and old audience members.
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‘Hokum’ crafts a cinematic Irish folktale and brings it into modern day, but regardless of the title, there’s no ‘hogwash’ to be found in terms of the fear director Damian McCarthy creates.
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A litany of music icons have had their day in the sun, but now it’s time for the King of Pop to take center stage in ‘Michael’, the highly anticipated biopic starring Jaafar Jackson. Though this story of Michael Jackson may play things too safe for its own good, there’s no denying the sheer entertainment value it brings to the table.
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Because of Charli XCX's star-making performance, director Pete Ohs subverts a conventional story with ‘Erupcja’ to deliver a textured, aesthetically daring character study of a broken couple seeking purpose inside a world in total eruption.
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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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Lee Cronin may be slightly inspired by Sam Raimi's work in his take on ‘The Mummy’, but his film remains playful and appropriately disturbing, taking audiences in frequently unexpected directions.
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Sofia Coppola doesn’t pretend to be objective in her portrait of Marc Jacobs in ‘Marc by Sofia’, and the film benefits from her subjective perspective on the iconic fashion designer.
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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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Directors Daniel Roher and Charlie Tyrrell offer a pragmatic vision of our potential Artificial Intelligence-dominated future with ‘The AI Doc: Or How I Became an Apocaloptimist’, even if it doesn’t go deep enough.
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Vicky Jewson’s ‘Pretty Lethal’ squanders an interesting premise with paper-thin characters, dull performances, and poorly staged action.
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Thanks to its masterful framing and an impeccable lead performance from Aleksandr Kuznetsov, Sergei Loznitsa’s ‘Two Prosecutors’ overcomes its rather telegraphed conclusion and its alienating structure to become a powerful historical drama that asks its audience not to forget.
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Michel Franco’s ‘Dreams’ fails to meet the moment with a mostly empty erotic drama that takes a repulsive turn near its allegedly shocking denouement.
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Awful in almost every conceivable way, ‘Psycho Killer’ is a note-perfect exercise in screwing things up from the get-go and never recovering as it trudges through a ridiculously inert conclusion.
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