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Stranger Things 4 Vol. 2 (Review): Wins and Losses
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Elvis (Film Review): ‘The Greatest Show on Earth’
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The Black Phone (Review): Ghostly Apparitions with IT-esque Residue
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Only Murders in the Building Season 2 Review: Sequel Season Capers
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I’m Your Man (Review): Eggert & Stevens Shine in Smart Relationship Drama
The Electrical Life Of Louis Wain: A Biopic That Breaks Tradition (TIFF Review)
Petite Maman (TIFF Review): Céline Sciamma Stuns Again
The Eyes of Tammy Faye: Chastain Captivates in Charming Biopic (TIFF Review)
The Humans (Review): Jenkins & Houdyshell Deliver in Dark Family Drama
The Worst Person in the World: A Love Letter to Lost Souls (TIFF Review)
The Power of The Dog: Campion’s Cinematic Comeback is a Classic
(TIFF Review)
Pieces of a Woman: Vanessa Kirby Shines as the Film Flounders (Review)
Summer of 85 (Été 85): Raw, Wise and Heart-Wrenchingly Good (Review)
The Father (Film Review): Hopkins Ages Like a Nice Chianti
Another Round (Druk): A Boozy Joy Highlighted By A Splendid Mads Mikkelsen
(Review)
One Night in Miami: “It’s Been A Long Time Coming, But A Change Is Gonna Come” (Review)
Akilla’s Escape: Classic Noir Style Melds Beautifully with Modern Themes (Review)
Penguin Bloom: Naomi Watts elevates a formulaic drama (Review)
Nomadland: Frances McDormand Anchors an American Odyssey for the Ages (Review)
Get the Hell Out: A Riotous, Albeit Unfocused Zombie Comedy (TIFF 2020 Review)
TIFF 2020: 20 Films to Watch at the Toronto International Film Festival
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