When Leigh Whannell helmed The Invisible Man in 2020, he transformed a century-old monster story into a searing commentary on domestic abuse and gaslighting. His contemporary reimagining of an abusive man who can’t be seen proved that sometimes horror is most terrifying when it doesn’t feel supernatural at all. With Wolf Man, Whannell faces an even steeper challenge – and unfortunately, this time the transformation isn’t quite as complete.
James Mangold resurrects his Walk The Line formula for one of music’s most iconic figures, to everyone’s detriment.
Atlanta has made its voice heard for 2024 in film
Robert Eggers’ crafts this year’s most unlikely Christmas movie
Everything that’s frustrating about Gladiator II resides in the script. Not everything about the film is a waste, though. Scott has firmly entered an era of doing whatever the hell he feels like, and the best parts of Gladiator II are in its weirder details.
The Seed of the Sacred Fig is a twisty-turny film that ends up in a completely different place than it started. Focusing on Iranian politics held at arm’s length, initially, it’s not long before civil unrest invades the home of our protagonists. Spoiler alert: The patriarchy is coming from inside the house.
After seeing more than 15 films at this year’s Toronto International Film Festival, we came away with more than just a set of top five favorite films.
The final round of Kyle’s TIFF coverage includes new films from Edward Berger, a horror film starring Hugh Grant, and a Tim Robinson-Paul Rudd crossover
Kyle takes a look at new movies from Sean Baker, Jason Buxton, and Joseph Kahn
Kyle’s TIFF Day 2 writeup sees him reviewing new films from Brady Corbett, Mike Flanagan and Gia Coppola
After seeing 16 films at TIFF, here are ScreenRex’s Top Five best films from the festival.
Day 1 of Kyle’s coverage of the Toronto International Film Festival
It’ll make a ton of money, but it’s more a full length meme than a movie
I recently realized there’s an incredibly small subgenre of blockbusters that fall into a particularly niche category. I’m not sure what to call this category, but it’s something along the lines of “In addition to everything else going on, for some reason the real bad guy here is corporate espionage!”
After a pair of attempts at appealing to the awards mainstream, everyone’s favorite Greek filmmaker is back at what he’s best at.
