Based on a funny, award winning play, the anti-buddy comedy Lawrence & Holloman fails to improve on its source material.
As Above/So Below isn't even as scary as a Halloween funhouse constructed by ten year olds.
The Congress is unquestionably one of the worst films of the year, but probably the only one made by a visionary talent.
Though certainly uninspired, some great performances help make the serial killer flick The Calling worthwhile.
To put it in terms the creators of Swearnet can appreciate, their movie sucks pus filled [expletive deleted]s.
This week at The Bloor a lyrical and gorgeous look at teenage poverty in Rich Hill and an engaging look at a musical icon in Finding Fela.
It won’t be to everyone’s taste and it’s certainly a slow burn that’s not trying to get anywhere at all, but Señoritas, the first feature from filmmaker Lina Rodriguez certainly captures something uniquely human and beautifully awkward.
The F Word is a rich, thoughtful, and purposefully problematic romance that hasn’t really been attempted or nailed this well since When Harry Met Sally.
All over the place when it should be focused, the documentary To Be Takei is an intermittently likable, but ultimately frustrating look at one of the biggest geek and gay icons to ever live.
We talk to filmmaker Michael Dowse about his work on The F Word, being an optimist at heart, sticking to your guns in the casting process, and keeping genre films simple.
We talk with world renowned oceanographer and explorer Dr. Sylvia Earle about being the subject of Fisher Stevens and Robert Nixon's documentary Mission Blue, now available on Netflix.
Mood Indigo, the latest bit of whimsical whatever from Michel Gondry, isn’t a film. It’s a fucking endurance test.
Arguably the best film of the franchise The Expendables 3 takes a lighter, sillier tone than its predecessors to deliver some passable action movie fun.
Dull and plodding, the Canadian drama Hard Drive makes young love feel like a chore.
The Trip to Italy is almost the exact same as the first foodie-centric outing with Steve Coogan and Rob Brydon, and there's nothing wrong with that at all.
A brotherly, time-shifting dark comedy, It Was You Charlie is a unique, quirky, and fresh film in spite of a few narrative hiccups.
The fashion world biopic Yves Saint Laurent is studiously useless and about as deep and as much fun as reading the back of a baseball card for 106 minutes.
Both slavishly faithful to and thematically distant from Lois Lowry's almost seminal early 90s young adult bestseller, The Giver stands as proof that not every iconic text can work as a coherent film.