Much like that of a promising get away, The I-Land is stunning on the outside with far less to offer on the in.
The disappointment when Cargo turns out to regurgitate the messages of a Hollywood production despite the unique style can’t be understated.
Brent Goldman covers Toronto International Film Festival films Honey Boy and How To Build a Girl.
Beyond a creative design and trailer, Killer Sofa is an idea that may have been conceived and executed foolheartedly.
Herself a Mainer, Mackenzie Bartlett wrote and directed her script The Party for last year’s Portland-Mainze based Damnationland festival.
In this TIFF 2019 report, David Fontana reviews four foreign films: Ordinary Love, Easy Land, August, and Dirt Music.
Corporate Animals by no means breaks the horror/comedy mold, but there’s some laughs to be had.
Brilliantly utlizing animation and storytelling, Undone is unquestionably one of the best TV series of 2019.
Legendary performer Judy Garland arrives in London in the winter of 1968 to perform a series of sold-out concerts.
Coda and Low are two short films that indicate why the rise of short films on streaming platforms is fortuitous. They deserve to be seen.
Although beautifully crafted, Théo Court‘s Blanco en Blanco is let down by the lack of restraint and direction.
Marriage Story is amongst Noah Baumbach’s finest works; it is sympathetic and charming, while containing some career-best performances by Scarlett Johansson and Adam Driver.
With the personal and professional lives of FBI agents Holden Ford (Jonathan Groff) and Bill…
An interesting, esperimental short film, The Flying Fish explores the more surreal realms of our existence that lights and cameras alone struggle to conjure up alone.