Director Ridley Scott returns with his latest film ‘The Dog Stars’, an adaptation of the beloved novel by Peter Heller that thankfully leans far more human than apocalypse.
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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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Jason Statham is back to dispose of more despicable human beings on the big screen in ’Mutiny’, a thriller that proves to be yet another reliably entertaining, lean, and mean vehicle for the beloved action star.
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Despite one of the year’s best ensembles, Karim Aïnouz and Efthimis Filippou’s reinterpretation of a Marco Bellocchio classic in ‘Rosebush Pruning’ ends up being a massive nothingburger.
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Audiences will be able to venture into the horrifying realm of the further yet again in ‘Insidious: Out of the Further’, an installment which takes much needed steps forward to expand the lore and mythology of the series while delivering the most chills since the original.
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Matt Johnson deconstructs – and complicates – the very nature of biopics by drawing a tragic portrait of Anthony Bourdain’s youth in the masterful ‘Tony’.
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Kristen Stewart and Alia Shawkat pair up for the year’s best hangout movie with ‘The Wrong Girls’, a movie that functions best when you don’t try to think about it too much.
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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 not without its flaws, ‘The Last House’, a film that draws inspiration from something such as M. Night Shyamalan’s early days, shouldn’t be dismissed, especially given how aesthetically and thematically sturdy it is.
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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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Eli Roth’s name being attached to ‘Ice Cream Man’ will be enough to grab the attention of many horror fans. But while critics most often fail to connect with his work, Roth’s diehard fans have long jumped in front of the sword to defend him. Ice Cream Man may change all that.
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After making a splash with beloved rom-coms like ‘Easy A’, director Will Gluck is back with ‘One Night Only’, a rom-com that fails to follow through on the potential of its fun high-concept premise.
Read More![‘Someone’s Daughter’ Review: An Underwhelming Survival Thriller [Fantasia 2026]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1785705099926-7D9NVL5NFIJ3VURLP2CV/Someones-Daughter-Pascale-Bussieres-Francois-Arnaud-FILM-IMG-004.png)
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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Tom Holland’s wall-crawler is back on the big screen yet again in ‘Spider-Man: Brand New Day’, an installment that is not only the best entry in the series yet, but one of the best Spider-Man films - period.
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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 not without its flaws, filmmaker Corrin Evans strikes the screen with the aesthetically invigorating and thematically rich ‘Corpus’, one of the major highlights of this year’s Fantasia Cheval Noir section.
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While brief, Makoto Ueda crafts a highly playful meta-comedy with ‘You Are the Film’ and awakens our innate love of cinema as a unifying art form.
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Refn, the renowned Danish auteur’s returns with his first feature film in a decade, coupled with his signature impressionism in ‘Her Private Hell’.
Read More![‘Teenage Sex and Death at Camp Miasma’ Review: Schoenbrun Deconstructs Slasher Cinema In This Brilliantly Subversive Satire [Fantasia 2026]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1784662765796-KY8296NFFDX4JXTYCDM0/CampMiasma_Still_1_MUBI.jpg)
Jane Schoenbrun tackles a lot in ‘Teenage Sex and Death at Camp Miasma’ that it almost feels like it’s going to collapse in on itself, until it doesn’t and opens up in ways you never expected from the outset.
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