Killing Mary Sue defines the term “Mary Sue” thusly: “A character, usually a young woman, who is often portrayed as inexplicably competent across all…
With The Dells, director Nellie Kluz delivers a work of nonfiction that exists in some strange space between shifts at the “Shore Store” from…
Anyone who has spent time with someone suffering from dementia has seen a loved one lie to them. These are not lies of malice;…
Cinematographer Bill Pope must have done something awful in 2022. Maybe he ran over some studio executive’s cat or perhaps his children beat out…
It’s been over a decade now since I caught Rithy Panh’s The Missing Picture at the Vancouver Film Festival. The director’s chronicle of his…
For fans of a certain kind of action movie, Diablo is one of the most anticipated releases of 2025. It marks the sixth collaboration…
For over three decades, British documentarian Adam Curtis has ferreted around the BBC archives, utilizing its resources to dissect, interpret, and otherwise obsess over…
Dag Johan Haugerud’s approach to dialogue — in which two privately rapt characters waffle between a listener’s patience and a preening sense of self-regard…
The rousing action epic may seem, in the age of bloated superhero flicks and video game adaptations, a thing of cinema’s past. If, for…
Comparisons to Everything Everywhere All at Once seem inevitable in the early buzz on Yang Li’s Escape from the 21st Century. The TIFF program…
Released — under no coincidental pretexts — within the same month as Jacinda Ardern’s autobiographical memoir of her time as New Zealand’s Prime Minister,…
Director July Jung’s first film, 2014’s A Girl at My Door, starred Bae Doona as a policewoman who gets transferred to a small fishing…
Fans of Nora Ephron be warned: Materialists has been grossly mismarketed. Fresh off the success of her Oscar-nominated Past Lives, it seemed puzzling that…
To coin an adage, directing a Stephen King adaptation is like getting a tattoo: it’s difficult to stop at one. The only thing harder…
It’s hard to pinpoint when Wes Anderson The Brand caught up with Wes Anderson The Director. It might have been some time around his…
Madeleine Hunt-Ehrlich’s new film can only be described as experimental. It doesn’t just explore the legacy of Martinican writer Suzanne Roussi-Césaire, an intellectual whose…
Grieving widow Kate Garrett (Julianne Moore) hides her struggles. She’s hard up financially, and relies on the dwindling generosity of her ex-husband, Richard (Kyle…
Much has been made about the terror of the deep blue sea and its inhabitants, and the shark movie in particular is a genre…