Is the new film “A Star is Born” a musical? This seems a bizarre question to ask.
This year, the Toronto International Film Festival made a concerted effort to shine a spotlight on women both in front of, and especially behind, the camera.
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.
“The House with a Clock in Its Walls” feels almost anomalous in 2018.
Two films at TIFF this year – both inspired by true events – seemed preternaturally linked in their representations of race and racism in Europe.
“Secrets are like margarine,” quips Stephanie, the protagonist of “A Simple Favor,” Paul Feig’s new mystery/comedy/thriller.
From pseudo biopics like “Colette” and imagined biopics like “Roma” to inspired-by-true-events films like “Viper Club” and “Cold War,” the dichotomy between the real and the imagined seemed of recurring value throughout TIFF 18.
At the world premiere of “Ben is Back” at the Toronto International Film Festival last week, writer and director Peter Hedges discussed the reason he built his film about addiction around a single day.
A sense of impending danger pervades “The Dive.” The film never approaches the frontline of war but the presence of war permeates the surface throughout.
The time is 1183. The place is Chinon. We are in the Angevin Empire.
While waiting in line for “A Star is Born” to begin, I engaged in my favourite hobby: recounting random movie trivia to strangers.
By Andrew Kendall in Toronto “The Sisters Brothers” opens with gunfire.
By Andrew Kendall in Toronto I made the mistake of glancing at a few reviews of Ashgar Farhadi’s “Everybody Knows” while I was working on my review.
By Andrew Kendall in Toronto At this year’s Toronto International Film Festival, there are two notable scenes from separate films, which seem to be speaking to each other across continents; the Kenyan film “Rafiki” and the American film “Boy Erased.” In “Boy Erased,” the moment is one the film seems to have been inevitably crawling to.
What would it be like to live without faith? The word has clear religious connotations but it’s not explicitly or expressly religious.
Like in many romantic comedies, the primary conceit of Crazy Rich Asians takes some suspension disbelief.
Isle of Dogs is Wes Anderson’s second animated film but it bears little resemblance to his previous foray, 2009’s Fantastic Mr Fox, beyond the common thread of anthropomorphic animal characters.
The comedy-thriller (or is it thriller-comedy?) The Spy Who Dumped Me betrays itself from its opening scene.
On Wednesday, media critics were thrown into a frenzy when the Academy of Motion Picture Arts and Sciences Board of Governors announced three key changes to upcoming ceremonies.
The trailer for Blindspotting does a poor job of suggesting the best of the movie’s nuances.
Above all else, Mission: Impossible – Fallout is an action movie. It has nothing particularly cogent to say about espionage, politics, or human interaction but it has a lot to show in the way of action sequences.
Hannah Gadsby: Nanette, a Netflix stand-up comedy special that premiered in June, leaves a lasting impression.
As far as films of the Marvel Cinematic Universe go, “Ant-Man and the Wasp” and its predecessor are clear outliers.
The basketball comedy Uncle Drew rests on the relationship between Lil Rey’s slightly overbearing coach, Dax, and the aging former streetball star, the eponymous Uncle Drew (played by current basketball star Kyrie Irving in heavy prosthetic makeup).
The last few minutes of “Sicario: Day of the Soldado” is a single scene that takes place a year after the rest of the film.
When “The Incredibles” premiered, it was to a markedly different film market in 2004.
In “Ocean’s Eight,” an octet of female grifters join together to pull off a major heist and it centres on jewellery and fashion?
I did not care much for the first “Deadpool” film. I ended up watching it last month, two years after its release, in anticipation of having to review the sequel.
What is it that draws us to nature-based survival tales? Is it a weird sort of schadenfreude where we find it thrilling to watch someone we do not know experiences things we probably could not face?
“Life of Party,” like the recently released “Avengers: Infinity War” before it, ends up interrogating the critic who deigns to write about it.
The weapon of choice for Joe, the hitman protagonist in Lynne Ramsay’s “You Were Never Really Here,” is a hammer.
“I Feel Pretty” ended up being a last minute choice at the cinema this week.
encounterOne of the oddest pieces I read this week about “Avengers: Infinity War” was that it was an example of experimental cinema instead of a blockbuster.
In France, the home of the Cannes Film Festival, films released in theatres cannot be streamed until a 36 month window passes.
The very last moment in John Krasinski’s “A Quiet Place” rests on the deployment of a sound cue that made me want to stand up and cheer, even amidst the troubling implications it raised.
The new romantic comedy “Love, Simon” is all about symmetry. This is a well-ordered world where everyone exists in a state that is not perfect, but rarely uncertain.
Anyone looking for something diverting to see over the weekend should head to Amazon or iTunes to stream the new digital release “The Death of Stalin.” The film builds itself on paradoxes that are both intratextual and extratextual.
“Game Night” is the best example of counterprogramming in the cinema right now and it looks likely to be that way until probably May, assuming it remains in theatres.
Critiquing the critics is my least favourite thing about criticism, but here we are.
With the Oscars all handed out, it’s just about time to bid 2017 film year adieu.
How does one even begin to talk about “Black Panther”? The question has been turning over in my head since I saw the movie in a packed theatre last week.
“The Shape of Water” features a beautiful original score but the most significant musical motif of the film is found in the past.
Although we’re well into the second month of 2018, the film world at large is still experiencing arrested development.
As much as Michael Anthony’s “Green Days by the River” has turned into a symbolic text of colonial life in Trinidad and Tobago, the story will always depend more on its value as a coming-of-age tale more than anything else.
Steven Spielberg’s recently released film “The Post” is a very particular kind of “culturally relevant message film.” Any critic who has written anything about it in the last month since its release is aware of it.
There is a key scene in “Darkest Hour” that will either make or break the film for viewers.
There’s something paradoxical about a 21st century film musical and even more so about “The Greatest Showman,” which is not the best or worst representation of what musicals are in 2017.
“All the Money in the World,” the recent Ridley Scott drama, is perhaps the darkest film I’ve seen from 2017.
I went into “Molly’s Game” knowing much nothing about it beyond the fact that it was written by directed by Aaron Sorkin, in his directorial debut, and that it starred Jessica Chastain and Idris Elba.
“Jumanji: Welcome to the Jungle” bills itself as a standalone sequel, a descriptor that seems immediately counterintuitive though it is immediately intrinsic to 21st century blockbusters.