John 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.
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Despite 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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Beyond the title telegraphing what happens to the titular character, when the credits roll for ‘The Death of Robin Hood’, it’s hard to say that anything new has been learned, or even meaningfully accomplished with the iconic character.
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Despite solid performances and a potent message, Adrian Chiarella’s ‘Leviticus’ begins to fall apart as soon as its mechanics contradict themselves.
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Despite solid performances from Samara Weaving and Kyle Gallner, alongside an assured sense of style, Adam Carter Rehmeier’s ‘Carolina Caroline’ doesn’t have much to offer beyond its obvious inspirations.
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Ol Parker’s latest romantic comedy, ‘Office Romance’, is frequently bizarre and, in many respects, painfully unfunny. However, once Jennifer Lopez and Brett Goldstein are paired together, it’s pure movie magic.
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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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While ‘Ladies First’ boasts a fun cast, the movie’s morals are even more dated and regressive than its French-language 2018 original.
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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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