Finally released to the world, Dave Green’s ‘Coyote vs. Acme’ lives up to the hype and proves to all of us that any movie is worth releasing, no matter the cost.
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Despite an incredible lead performance from Haruka Ayase, fillmmaker Hirokazu Kore-eda struggles to translate many ideas on screen in ‘Sheep in the Box’, making it a massive misstep for the prolific Japanese auteur.
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While the laughs may not flow as much as the first two films in the franchise, the Broken Lizard crew still gives us a hefty dose of shenanigans with ‘Super Troopers 3’.
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Despite an alluring visual language and decent performances from both Pascale Bussières and François Arnaud, filmmaker Wiebke von Carolsfeld’s ‘Someone’s Daughter’ seems afraid to explore the central topic at the heart of the movie.
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While Seidi Haarla gives filmmaker Hannah Bergholm’s ‘Nightborn’ a real dramatic heft, this Cheval Noir-award winning picture quickly bludgeons the audience with the same old tropes, ideas and irritating shrieks that ultimately signify nothing.
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Thanks to its committed performances and an impeccably controlled aesthetic palette, director Nicky Murphy gives us a mockumentary for the ages in ‘I Love Paris’, which can even put What We Do In the Shadows to shame.
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While Mark Jenkin continues his signature visual language and draws career-best performances from Callum Turner and George MacKay, the overall experience of ‘Rose of Nevada’ confounds more than it illuminates.
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While imperfect in its structure, Carla Simón manages to pull us into a devastating portrait of a young woman searching for the truth amid a fractured family with ‘Romería’.
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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 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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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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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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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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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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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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While the first half of Blue Heron seems conventional, the movie reveals itself as anything but and already positions Sophy Romvari as a major voice to watch within contemporary Canadian cinema.
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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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