The escalation of terror has dialed up a few more notches as writer/director James DeMonaco takes us further down the hole of first world genocide in The Purge:...
Gorgeous and deliberate, Susanna White's Our Kind of Traitor, adapted from the John le Carré novel, exists in that ever-so murky, gray area of international pol...
Winner of the Best Canadian First Feature at TIFF and Best Canadian Feature in Vancouver after bowing at Cannes last May, Andrew Cividino's feature-length debut...
With over fifty films to his name ranging from crime epics to romantic melodramas to anti-capitalist musicals, prolific Hong Kong auteur Johnnie To has long ha...
Twenty years after Independence Day ramped up cinema’s obsession with mass destruction, its sequel ricochets between repetition and semi-clever subversion. Lond...
In cinema, differentiating it from most other mediums, one has the ability to give life to drama: time to flesh out characters, fill an unfolding story with int...
The sun is shining on a pristine, secluded beach -- a kind of cove consisting of white sand, a coral reef, and an outlying island that looks like a woman in rep...
Excepting the chance that some very obvious parallels went over a critic’s head, there's nary a review of Thomas Bidegain’s Les Cowboys that lacks mention of Jo...
I admittedly didn't think too much on The Phenom after watching its trailer. There was a good cast, its look behind the curtain of fame seemed intriguing, and t...
Inside Out notwithstanding, it’s been awhile since cinema attempted to make clowns scary again, or at least use them as the central focus of a horror piece. Che...
