When Flula Borg showed up in the Pitch Perfect 2 trailer I found myself smiling at his success. It was a cameo keen to capitalize on his YouTube DJ fame and una...
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...
