Pixar gets back to its tear-jerking roots with an emotionally complex modern fantasy about grief, loss, and brotherhood.
Netflix’s adaptation of the Joe Hill comic series takes a while to get going, but hits a dark-fantasy stride by the end.
We cross-over with the Debating Doctor Who podcast to figure out which Christmas Special (and their stars) deserves a spot on the Hall of Faces.
Star Wars: The Rise of Skywalker rises to a forceful $175.5 million opening weekend at the box office, but it falters compared to previous episodes.
Netflix’s adaptation of the popular fantasy novel series is a puzzling mess that brings little new to the table except Henry Cavill’s wig.
J.J. Abrams closes out the Star Wars saga by walking back its more interesting middle chapter and drowning itself in fanservice.
This sequel to the 2013 animated hit delivers on the songs and some lovely messaging, but essentially delivers more of the same.
Emma Roberts fights the patriarchy in this trippy feminist fairy tale.
Friday’s CIFF Dispatch talks up Harlem doc The Apollo, dark fairy tale Adoration, Guatemalan drama Our Mothers, and Minhal Baig’s coming-of-age story Hala.
Issa López captures the horror of growing up in a warzone with a gritty fairy tale that would make Guillermo Del Toro proud.
The Jim Henson Company makes a stellar return to form in Netflix’s epic, ten-episode prequel to the classic 1982 film.
Brilliant production design and strong lead performances get bogged down in too much worldbuilding in Amazon’s high-budget fantasy series.
The co-creator of Amazon’s latest fantasy series discusses the story’s long, winding road from long-dormant feature script to streaming series.
The director of House of Flying Daggers and Hero drains the color from a Shakespearean take of double identities to crisply symbolic effect.
Keiichi Hara’s candy-colored fairy tale is certainly a feast for the eyes, even if its story is skin deep.
Nietzchka Keene’s adaptation of the Grimm fairy tale is a haunting black-and-white showcase for Björk.
The Wachowskis’ last theatrical film to date — a space opera with Channing Tatum as a roller-skating wolf man — is one of their most ambitiously corny efforts yet.
Howl’s Moving Castle, Hayao Miyazaki’s sprawling, mythic steampunk fantasy from 2004, is one of the master’s more underrated features.