Neon Dreams

In a mid-year movie season that feels built on familiar tropes (the current slate of films in cinemas affirms this), the recent digital-release “Teen Spirit” probably seems too apt.

The end of empathy in “Midsommar”

Most of the newly released “Midsommar” takes place on a Swedish commune where four unwitting American university students have travelled, with a Swedish friend, to take part in a summer festival that moves from idyllic to horrifying as the days go by.

Terrorising Teens

If there’s one thing that remains true about the box-office, year after year, it’s that horror films are a sure bet.

Familiar thrills

In recent weeks, the newest Disney remake “Aladdin” and the third instalment of the “John Wick” action franchise have been dominating the sales at local cinemas.

Taking flight with Dumbo

With the current state of things, it seems only a matter of time before every animated Disney film is refashioned and remade as a live-action film to sustain us on a constant diet of Disney content.

Meaning and meaninglessness in “Us”

Jordan Peele made his directorial debut to critical acclaim in 2017 with the American horror film “Get Out.” The socio-political concerns of that film felt timely and prescient in a way that few contemporary films have.

Ghetto stories

You really can’t put a price on representation. There is nothing quite like seeing shades of your life vividly represented in the media you consume.

Coraline at 10

Ten years ago, Henry Selick’s “Coraline” premiered as the first feature from animated movie studio Laika.

The shallow waters of ‘Serenity’

The title of the thriller/psychodrama/melodrama “Serenity” is a misnomer. The film justifies the title because Serenity is the name of a boat where a great deal of the film’s action is set.

Mind Games in “Glass”

“Glass” recently premiered as the third part of M. Night Shyamalan’s Eastrail 177 Trilogy, which began with 2000’s “Unbreakable” and continued in 2017’s “Split.” “Unbreakable” premiered just on the heels of Shyamalan’s wildly successful “The Sixth Sense,” the critical and commercial peak of his career.

Petty thievery

There is one thing that the new iteration of “Robin Hood” does better than anything I’ve seen this year.

Fighting for identity

When director David Mackenzie’s kinetic, bloody war epic “Outlaw King” landed the prime opening night spot at the Toronto International Film Festival (TIFF) in September, it seemed to signal great things for Netflix and for Mackenzie, whose previous work, “Hell or High Water,” was a critical hit a couple years ago.

Stylish crimes

Steve McQueen’s “Widows” premiered at the Toronto International Film Festival (TIFF) in September as the much-hyped and much-anticipated follow-up to his Oscar winning “12 Years A Slave”, from 2013.

The man on the moon

“First Man,” the new film by Damien Chazelle, begins in space. Neil Armstrong, a NASA test pilot, is flying a rocket plane on a test-run.

An unexpected comedic turn in “Venom”

I walked out of “Venom” with the dopiest smile on my face. It’s slightly disorienting that “Venom,” which in its promotional materials leans in heavily, too heavily, on its dark-action-oriented premise, is least effective when it works at being a superhero/action movie.