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.
Before we see anything, “Spider-Man: Far from Home” begins with a sound cue of a famous pop song.
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.
If there’s one thing that remains true about the box-office, year after year, it’s that horror films are a sure bet.
The opening credits of “Birds of Passage” are written in blood-red. The blood-red words on the black screen make for a jarring image.
Of the nine films currently showing in local cinemas, six of them are either giant studio-remakes or sequels.
Throughout “Rocketman,” the new Elton John biopic with the stylised title of one of his most famous songs, I kept trying to think of a better name for the film.
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.
Growing up is hard to do, whether your world is real or a fantasy.
The new romantic comedy “Long Shot” depends on a number of well-worn romantic tropes.
By either some coincidence or the predominance of nostalgia, we currently have two films in theatres heavily inspired by two comedies from the 1980s.
“Avengers: Endgame” picks up immediately after the end of the previous Avengers film, “Infinity War,” as we see the effect of Thanos’ great snap – culling all the living organisms on earth by half.
During a tense scene in the newly released “Hotel Mumbai,” a pair of gunmen enter a hotel-room toilet in search of a victim.
Amidst the ongoing battle between the Marvel Cinematic Universe and the DC Extended Universe for dominance, the arrival of “Shazam” feels significant because of its divergence.
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.
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.
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.
“Triple Frontier” is a riff on a particular song. Five former soldiers, bound by their shared scars, team up to pull off a daring heist.
The final battle in “Captain Marvel” is a one-on-one fight between our hero and the film’s primary villain.
We hear the faintest sound of rabbits frolicking during the opening seconds of “The Favourite,” even before we see anything.
What a difference five months makes. “Green Book” was the last film I saw at the Toronto International Film Festival in September.
Ten years ago, Henry Selick’s “Coraline” premiered as the first feature from animated movie studio Laika.
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.
Movie production being what it is, “The Wife,” which premiered at the Toronto International Film Festival in 2017 and was released to theatres in 2018, feels very much of this time.
“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.
As a new year begins, every film critic is forced to consider the moments in cinema that burned brightest in the previous 12 months.
A seventy-year-old man walks into a bank. He is charming, diffident, well dressed.
The climax of the newly-released “Mary Poppins Returns” features the main characters attempting to, inexplicably, turn back time.
The best thing about any incarnation of Spider-Man has always been his normalcy.
A Mixtec Amerindian woman and an older White Mexican woman stand in a crowded hospital room in Mexico City.
Tyler Perry has released 19 films in the last 12 years. He has his own production company and his prolific output seems indicative of the great commercial demand for his films.
There is one thing that the new iteration of “Robin Hood” does better than anything I’ve seen this year.
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.
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.
“Bohemian Rhapsody,” more than most 2018 films, has had to justify its existence.
“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.
Amandla Stenberg was one of a handful of actors who attended the Toronto International Film Festival this year as the star of two films.
“I have a poem.” It’s such an innocuous line but one that hides a wealth of profundity.
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.