Reel Encounters

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.”

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.

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.