Through smartly restrained directing that keeps you hooked on the potential for danger, The Royal Hotel breathes new life into its familiar themes.
Half of American Fiction is an engaging family drama, but the other half is a sometimes funny but often overdone satire of representation in entertainment.
Monster uses its multiple perspectives to paint a masterfully subdued picture of childhood, acceptance, and the longing for freedom.
Michael Keaton’s Knox Goes Away is barely saved by a powerful ending, but it still suffers from meandering direction and wasted potential.
We interview Boy Kills World director Moritz Mohr and producer Simon Swart to learn about the inspiration and craft behind their TIFF-premiering film.
Boy Kills World smashes a wide range of genres together to create a wonderfully crazy mosaic of action, gore, and imagination.
With its clever structure and sobering story, Woman of the Hour shows director Anna Kendrick is just as sharp behind the camera as she is in front of it.
Dumb Money isn’t the most searing dig at capitalism out there, but it gets by with its sharp humor, strong cast, and unpredictable momentum.
Dicks: The Musical is a raunchy, absurd, hilariously wild ride brought to life by a committed cast, catchy songs, and clever twists of a familiar tale.
The Boy and the Heron lets the worldbuilding distract too much from the story, leaving most of Hayao Miyazaki’s magic to go stale.