“Sophie Jones” Finds Truth in Adolescent Turmoil
With a quietly assured lead and a keen sense of rhythm, Jessie Barr’s debut feature announces the writer/director as a talent to watch.
With a quietly assured lead and a keen sense of rhythm, Jessie Barr’s debut feature announces the writer/director as a talent to watch.
Denis Villeneuve finishes his epic two-part adaptation of Frank Herbert’s novel with sprawling scope and thorny politics.
This year will play catch up with the strikes, try to revitalize or continue long-running franchises, and give directors and new and old the steam to keep filling theaters.
Max’s latest docudrama is just one of many times real-life killers have been given attractive makeovers for TV
McAvoy approaches the superpowered Kevin Wendell Crumb and his alters with care and empathy, overcoming sketchy psychology.
Joel and Ellie make their way to Jackson, but can’t outride their pasts as Joel struggles to find his footing.
Two tales of fathers and repression explore the importance of self-realization and the cost of parental absence.
Jen goes delightfully meta in the season finale, “Whose Show Is This?”
Lana Wachowski’s return to the franchise is a messy, achingly sincere meta-sequel that refreshingly reflects on its very existence.
We break down the movies we’re looking forward to seeing most out of this year’s hybrid festival in Chicago.
Despite its high quality production design and strong performances, the Shudder haunted house flick lacks in genuine thrills
The Russo brothers’ Avengers: Endgame follow-up wastes the potential of a grown-up Tom Holland, and tries way too hard.
Philip Seymour Hoffman is a breath of fresh air in David Mamet’s limp showbiz dramedy.
David E. Talbert’s holiday offering is a fresh mix of fantasy, adventure, and sci-fi, even if it’s not the evenest.
Heidi Schreck’s hit Broadway play transfers to Amazon with admirable verve, thanks to a strong central performance and effortless direction from Marielle Heller.
Misinterpreted upon its release, Woody Allen’s 1980 comedy is a worthy riff on the likes of 8 1/2 and Sullivan’s Travels.
In the wake of the series finale, we look back on what made Viola Davis’ character so iconic.
Tiffany Haddish, Rose Byrne and Salma Hayek glow up an otherwise-dire January comedy about fashion and friendship.
Damon Lindelof’s series comes to a conclusion that is as evocative and satisfying as it is rushed.
At CIFF, we take a look at religious drama Maternal, episodic romantic dramedy Babyteeth, German potboiler Lara, and historical queer horror Carmilla.
The second half of Andy Muschietti’s Stephen King adaptation sinks under its mishmash of tones.