2017
Goodbye Christopher Robin has some redeeming value to it, but it is ultimately too painful for people who love Winnie the Pooh.
Stephanie Archer takes an in-depth look at Wonderstruck, the official centerpiece selection of the 2017 New York Film Festival.
Jackie Chan is in peak form in The Foreigner, and handily wins you over despite the film’s dated source material.
Our Souls at Night an important reminder that there are still plenty of stories worth telling in the twilight years of one’s life.
While not as memorable as other spy-thrillers, American Assassin is entertaining and solid enough with high intensity and relentless action.
Rebel in the Rye is interesting when looked at from a writer’s perspective, but unfortunately doesn’t work as a cohesive biopic.
The Mountain Between Us, a tale of two strangers (and a charming dog) who find…
Emma Stone shines as tennis player Billie Jean King in Battle of the Sexes, which reminds us of how little progress we’ve made since the 70s.
Featuring one of the coldest mother-child relationships of the year, the harrowing but heavy handed Loveless truly lives up to its title.
Walking Out, by the Smith twins, is an unrelenting and beautifully shot story of a father and son surviving in the brutal Montana wilderness.
Daphne is a more of a character study than a film whose design cleverly portraying a layered and complex character rarely see on screen.
Jay Baruchel steps behind the camera for cult sports comedy sequel Goon: Last Of The Enforcers, and forgets what makes the original special.
Flatliners is a terrible remake of an already bad movie, whose basis is genuinely interesting but the vision poorly conceived.
In Andrew Haigh’s Lean On Pete, a young boy bonds with a horse headed to a slaughterhouse, and is a great cinematic experience.
Mike Flanagan’s Gerald’s Game, though not quite as dark as its source material, still showcases his talent for immersive horror film-making.