Patricia Rozema’s Mouthpiece and the Understanding of the Female Psyche: TIFF Review
This experiment from Canadian auteur Patricia Rozema invites you to a confusing world.
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Neil Armstrong Biopic First Man is One Giant Leap for Damien Chazelle and Ryan Gosling: TIFF Review
Damien Chazelle's biopic about the late astronaut never holds back in awe.
Rising from the Shallow, A Star is Born is a Triumph: TIFF Review
This third remake of the 1937 film finds a new life with Bradley Cooper behind the camera and Lady Gaga carrying the spotlight.
The 25s: The Top and Bottom Grossers of 2003
My senior year of high school and freshman year of college. 2003 is a loaded year for me. Trying to isolate my feelings about the year from the films should be harder. Thankfully there are some great and not so great films to make it easier. The bottom 25 grossers of 2003. #76. Uptown Girls. [...]
Review: The Predator: Autism is Magic
This film is a breathless mess. It's portrayal of autism, however, isn't outwardly terrible; just part of a long-standing, damaging pattern of other portrayals of autism in film/TV.
Hold the Dark is Ugly, Lean, and Mean, but Maybe Not Enough: TIFF Review
Jeremy Saulnier's new release for Netflix carries the director's best tendencies, but maybe not to a fully realized degree.
Barry Jenkins Gives a New Life to James Baldwin’s Legacy with If Beale Street Could Talk: TIFF Review
Barry Jenkins's third feature film doesn't only set him up to become one of this generation's finest filmmakers; it proves he is one among our finest.
Jonah Hill’s Directorial Debut Mid90s and the Encapsulation of Time: TIFF Review
Jonah Hill's directorial debut isn't one that is born out of nostalgia, but a sense of love for the time period of its title.
Boy Erased and the Stigma of Gay Conversion Therapy: TIFF Review
Joel Edgerton's conversion therapy biopic approaches its subject with good intentions, but doesn't stretch beyond routine.
The Old Man & the Gun’s Unabashed Sentimentality Sets the Perfect Sendoff for Robert Redford: TIFF Review
David Lowery's most recent film is a bittersweet sendoff to a legend, if this were truly to be Robert Redford's last film.
