“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.
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?