TIFF Review: Barry Keoghan Can’t Save the Thoroughly Unpleasant Bring Them Down
Christopher Andrews’ Bring Them Down is an endurance test with no payoff. Opening with a jarring car crash on a windy road in rural Ireland...
Reviews
See all reviews here.
TIFF Review: The Return Marks a Languid Reunion for Ralph Fiennes and Juliette Binoche
The true pits of '90s nostalgia are maybe here, as we’re in the year 2024 arriving at an attempt to hype an English Patient reunion. Yes, t...
Venice Review: Neo Sora’s Happyend Poignantly Explores our Responses to an Impending Future
“Something big is about to change,” is surely one ominous beginning for a debut fiction feature, but director Neo Sora knows how to calibra...
TIFF Review: Pedro Páramo Marks a Lifeless Directorial Debut for Rodrigo Prieto
I haven’t read Pedro Páramo by Juan Rulfo, but a glance via Google informs me it was a very important novel: a magical-realist text that in...
Interviews
Features
Streaming picks, films to see, lists, and more.
Film Festival Coverage
Sundance, Berlinale, Cannes, Venice, TIFF, NYFF, and beyond. See more here.
Read More
TIFF Review: We Live in Time is a Moving Look at the Ebb and Flow of a Relationship
It’s all about perspective. Six great months living the rest of your life to the fullest or twelve miserable ones trying to survive? Sacrificing present happin...
Rooney Mara is Under Pressure in First Trailer for Alonso Ruizpalacios’ La Cocina
While we ponder how exactly the fiasco surrounding Todd Haynes' would-be next film is going down in the household of Joaquin Phoenix and Carol star Rooney Mara...
TIFF Review: The Legend of the Vagabond Queen of Lagos Captures a David vs. Goliath Fight
The cinematic arm of the Slum Dwellers International and affiliates’ campaign to expose injustice wrought upon waterfront communities in Nigeria’s largest city...
TIFF Review: Mike Flanagan’s The Life of Chuck is a Childish Take on Universal Experience
In just over a decade, Mike Flanagan went from promising indie director to one of the best American genre filmmakers working today. Starting with Absentia and ...
TIFF Review: Joshua Oppenheimer’s Bunker-Set Musical The End Offers Earnest Look at Redemption
Chatting with the head of a prominent documentary-production company recently, I asked if hybrid filmmaking had reached its natural limit. Could it conceivably...
Venice Review: Dea Kulumbegashvili’s April is a Mystical Cinematic Revelation
In this year’s diverse line-up of Venice competition titles, there is one that stands out. A film without any predecessors or useful comparison-companions, a t...
TIFF Review: In Nacho Vigalondo’s Daniela Forever, a Romantic Dreamscape Turns Nightmarish
When Nicolás (Henry Golding) wakes from his dream, Daniela (Beatrice Grannò) is gone. It wasn’t some crazy adventure or anything, either. Just the two of them ...
TIFF Review: Pamela Anderson Shines in Gia Coppola’s Moving The Last Showgirl
“I’m older––I’m not old,” says Shelley, the longest-term performer in a past-its-prime Las Vegas revue. She is played by Pamela Anderson, the international ico...
TIFF Review: Mike Leigh’s Hard Truths is a Work of Knotty Dramaturgy and Patient Form
Mike Leigh is nothing if not an expert at conceiving (in conjunction with talented actors) a certain kind of larger-than-life character. Well, larger-than-life...
TIFF Review: Bonjour Tristesse Strikes a Different Note Than Otto Preminger’s Masterpiece
There was slight trepidation going into Bonjour Tristesse. Justifying itself as another “adaptation” of Françoise Sagan’s text rather than remake of Otto Premi...