2019
Overall, Downton Abbey’s worth as a film depends on your feelings towards the original show.
Groupers isn’t perfect, and it certainly isn’t a mainstream product for the masses, but it has its merits.
The Last Tree isn’t perfect, but it’s an honest and insightful coming of age story that deserves to find an audience.
Potrait of a Lady on Fire builds to an awe-inspiring, pulsating crescendo that leaves the audience’s collective heart thudding.
A conspicuously suspense-free story, Haunt feels like a missed opportunity by refusing to take its own ideas to the extreme.
Eddie Murphy is at his absolute best in Dolemite Is My Name. The humor and chops for drama that he brings to the role are a perfect c*cktail that you just can’t help but drink up.
What did people think he was doing? What did the legends say? Wrinkles the Clown is both a hilarious and terrifying documentary that tries to answer these questions.
3 Days With Dad does not deliver to the audience what it promises, presenting an exercise in patience that goes one day to long.
A Shaun the Sheep Movie: Farmageddon feels messily reverse engineered, a lazy Spielberg riff forcibly created just to fit the punning title.
Sounds and vibrations undoubtedly shape the world as we know it, in turn capable of…
Looking back on “the gayest horror film ever made”, Scream Queen! My Nightmare on Elm Street is the kind of documentary you wait all year to see.
VHYES tells a poignant story about the odd agency a child can find in television, and the combination of joy and horror that, almost always, follows.
Koko-di, Koko-da is a surprising triumph, a modern fable brilliantly told and performed to expert precision.
Bloodline is a truly frustrating experience – a few less unneeded twists and turns might have made the whole thing plausible.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.