REVIEWS

A new satire from Coralie Fargeat brings body horror back to the mainstream.

A Stephen King adaptation that falls flat despite its crowd-pleasing ambitions.

Cronenberg's latest offers frustrating glimpses of the director's mastery.

As we enter summer movie season, a look back of the good and the bad from the early months of 2024.

A final wrap-up on Toronto 2023, featuring American Fiction, Anatomy of a Fall, and more.

Jonathan Glazer's latest is a staggering and punishing artistic achievement.

Hayao Miyazaki's latest stands among his greatest works.

A quick-hit report on a selection of films from the 2023 Toronto International Film Festival.

M3GAN is smart, scary, and funny in all the right places.

Damien Chazelle’s Babylon is a shit-spewing Hollywood takedown and a Fellini-esque whirligig circus desperate to love the movies.

Empire of Light is technically proficient, but despite a strong cast and craft, it never coheres into an entirely satisfying whole.

Bones and All is a winding look at the paths we take when the world tells us we aren’t one of them.

Glass Onion is an absolute triumph; a murder mystery sequel more intricately designed and devilishly entertaining than the first.

A fairly standard (if handsomely constructed) journalism procedural, She Said is nevertheless one of the most fascinating films of the year.

Edward Berger's bold and uncompromising retelling of the classic anti-war novel demands to be seen.

They're all feckin' boring - but the movie certainly isn't.

Aftersun uses faded, fragmented images to piece together a child's-eye view of the past that lingers long after the credits have rolled.

Decision to Leave is a magnificent, elliptical, yearning tale of obsession, love, and the space in between.

Ruben Östlund's film's smug sense of superiority is dangerously close to matching that of the privileged few it hopes to mock.

Much of the buzz around Tár, the third film from writer-director Todd Field (and his first in over a decade), has been about two...

Perhaps the most discussed and depicted figure of 20th century American cultural mythology, Marilyn Monroe's greatest post-mortem...

A stirring action epic in the mold of Braveheart, Gladiator, and The Last of the Mohicans, Gina Prince-Bythewood's The Woman King often...

At its high points, Smile will get under your skin.

Athena has one of the most jaw-dropping opening sequences in years. And then it gets better.

Buzzy titles don't live up to the hype.

A talented ensemble soars in Sarah Polley's vital new film.

A conventional film elevated by unconventional flourishes.

A slow start gives way to a smart and funny horror send-up.

A witty satire with more pathos than you might expect.

Laura Poitras' documentary paints a moving portrait of a great artist and activist.

Steven Spielberg's latest is one of his most personal and one of his best.

Actors bring their A-games in Causeway and Return to Seoul.

Emily is an auspicious and exhilarating debut.

Impressive performances help overcome a slightly bloated crowd-pleaser.

Not Okay plays like a mediocre SNL sketch stretched 100 minutes too long.

Nope demands our eyes if only to open them just a little bit wider.

Despite the obvious limitations in its script, Elvis’s shortcomings are fully overcome by the sheer force of Luhrmann's showmanship.

Crimes of the Future reinvents Cronenberg's old formulas to create a new kind of sci-fi body noir.

Alex Garland's latest can't reach the highs of his prior features.

Sophia Silver's directorial debut is satisfyingly genuine.

An intriguing character study can't quite sustain itself.

Set aside 8 hours for the best triple feature of the year.

Ti West's latest can be a bit slow, but makes up for it with plenty of enjoyable thrills.

I Want You Back is a comfortable throwback to rom-coms past.

The latest attempt to resurrect Leatherface fails miserably.

Three disparate portraits of women at a crossroads.

Three worthwhile films that nonetheless miss some opportunities to shine.

Regina Hall and Sterling K. Brown mine comedic gold in Adamma Ebo's feature debut.

Mariama Diallo's debut has its ups and downs, but solidifies her as an exciting new talent.

Cha Cha Real Smooth is a story about figuring out what the hell comes next - no matter if you're 14 or 40.