YOUR HUB FOR MEANINGFUL DISCOURSE ON MOVIES & ENTERTAINMENT.
Speaking of fresh, this team of international writers and content creators - from the USA, Canada, Mexico, and the UK - are the definition of “squad goals”.
Showalter and writer Nick Antosca seem to be reaching for a Verhoeven-esque tone that really falls flat on its face the more you unpack it.
“…for those who deeply appreciate the craftsmanship of great editing, production design, score, etc. there is a lot to love in Primetime.”
It’s not just about TIFF 2026’s slate paling in comparison to TIFF 2025’s (plus NYFF’s juggernaut 2026 lineup); some unfortunate issues made 2026’s festival quite lackluster.
It’s a big ask for an audience to go to the theater, wait nearly an hour for the snake to slither into the frame, only for it to occasionally do more than stare down its victims.
While The Last Photograph attempts to be an intimate, grounded thriller about vengeance and redemption, its narrative emptiness leaves it dead on arrival.
“The Man I Love…is one of the most prominent examples of [Ira Sachs] unique strength: Knowing what to leave out of his stories.”
“[The Julia Set] manages to make its mathematics and human story equally uninteresting.”
“Compared to the mystery-thriller components of Barbarian and Weapons, Resident Evil is more of Cregger’s opportunity to flex his directorial chops.”
Even though Digger doesn’t thematically gel as well as it needs to…Iñárritu is bold to address our culture’s lack of sincerity in such an elaborate manner.