2020s
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.
Waiting for The Light to Change is a snapshot of Gen-Zers and the anxieties of the times.
Ultimately, Top: Gun Maverick preserves the atmosphere of a timeless era and places it in the modern-day, harnessing an infectious energy.
Stories about college professors are popular at this year’s Toronto International Film Festival, with both Hit Man and Dream Scenario being examples.
Killers of the Flower Moon isn’t just a historical tale but a profound and subtle commentary on history, humanity, and the power of storytelling.
Unfortunately, every single second that came before the ending in Alice & Jack was terrible.
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.
While Perfect Days is minimalistic and quiet, almost to a fault, Les Indésirables is a bombastic cinematic experience.
Love At First Sight does retain a predictable nature, but by the film’s end, you will want the predictability.
For the 2023 Toronto International Film Festival, Wilson Kong reviews Craig Gillespie’s Dumb Money and Margreth Olin’s Songs of Earth.