Film Reviews
Bottoms is like a walk-through tour of a museum for high school comedies. It’s familiar, and nothing but fun.
The GameStop short-squeeze of 2021 is dramatized in the rough and messy but ultimately entertaining “Dumb Money.”
With Flora and Son, Carney is venturing toward more trendy mainstream territory again and yet stays within his most comfortable milieu.
Throw in an informative booklet with an essay by Eric Le Roy and Early Short Films of the French New Wave is truly a must-own.
Hell of a Summer is a campy blast of a film, blending the nostalgia of 80s camp slashers with coming-of-age teen comedies.
Both a monumental piece of Chinese cinematic history and a lasting tribute to the special brilliance of its star, this is essential viewing.
Waiting for The Light to Change is a snapshot of Gen-Zers and the anxieties of the times.
Stories about college professors are popular at this year’s Toronto International Film Festival, with both Hit Man and Dream Scenario being examples.
With a simple premise but endless complexity, Monster sees Hirokazu Kore-eda’s compassion and empathy presented at such a masterful level.
Youth (Spring)’s 3-plus hour length is not only necessary, but an absolute gift to sit through.
A Haunting in Venice is a new direction, going for something more creepily claustrophobic, but doesn’t quite nail the landing.
The 2021 Bafta-nominated short film Femme from Sam H. Freeman and Ng Choon Ping is now a feature, premiering at several film festivals.
Capturing the beauty of everyday life, Here is a beautiful exploration of humanity and our quest for understanding.
For this Toronto International Film Festival, Wilson Kwong reviews the Critic and Humanist Vampire Seeking Consenting Suicidal Person.
The uber-formalistic approach of The Zone of Interest may strike some as unfeeling and morally empty, but it’s an authentic film.