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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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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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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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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Thanks to incredible, career-best performances from Alexander Skarsgård and Harry Melling, Harry Lighton’s ‘Pillion’ overcomes a relatively conventional story with a transgressive approach to sexuality and offers a glimpse of a world audiences rarely see depicted in mainstream cinema.
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Despite a well-mounted cast and a cogent subject matter that should theoretically work in the hands of such an assured genre stylist, Gore Verbinski’s ‘Good Luck, Have Fun, Don’t Die’ is an excruciatingly dull sci-fi comedy with a refusal to say anything meaningful.
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Thanks to a committed (French-speaking) performance from Jodie Foster, Rebecca Zlotowski’s ‘A Private Life’ is an intriguing mystery film.
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Director Nia DaCosta’s take on the ‘28’ franchise brings bold tonal swings and dials up the madness in the latest sequel, ‘28 Years Later: The Bone Temple’.
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Nicholas Hytner’s ‘The Choral’ shines when it focuses on its protagonists ruminating on the casualties of war, but not so much when drawing character relationships inside the titular choir.
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While Brendan Fraser gives an impassioned performance in ‘Rental Family’, the movie itself is not as heartwarming as it sets out to be.
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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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Oz Perkins has yet to make something worthwhile in the opinion of our Maxance Vincent, but with his sixth feature, ‘Keeper’, the film could be the worst project he has ever helmed.
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