28 YEARS LATER: THE BONE TEMPLE – The sidequest is the point
DaCosta brings her own sensibilities to Garland’s vision, and while the results may feel more like a necessary pause than a triumph, the craft remains undeniable.
Author: Kyle Pinion
ONE BATTLE AFTER ANOTHER Dominates Atlanta Film Critics Circle’s Awards with Seven Wins
Paul Thomas Anderson’s latest masterwork took home Best Film, Best Actor, Best Supporting Actor, Best Director, among others. Sinners and Weapons notched big wins as well.
MARTY SUPREME: When Mastery Becomes Formula
Josh Safdie’s first solo outing delivers the familiar Safdie rush, but two weeks later I’m wondering if I’ve seen this serve too many times; a good film that makes Uncut Gems look tight by comparison.
Bradley Cooper’s IS THIS THING ON? Can’t Commit to the Bit
Will Arnett delivers an excellent worn-down performance in some of the rawest, most thrilling minutes I’ve seen this year—before the film topples its own belief in the story
SPRINGSTEEN: DELIVER ME FROM NOWHERE – Nebraska State of Mind
Jeremy Allen White disappears into Springsteen with a performance that transcends impersonation, even if the film around him can’t quite find its rhythm.
Guillermo del Toro’s FRANKENSTEIN Can’t Escape Its Creator
An absorbing, richly Gothic portrayal of one of literature’s great tragedies, beaten and bloodied by del Toro’s lapse into familiar territory.
TIFF 2025 Review: IT WAS JUST AN ACCIDENT
Panahi delivers festival gold with this gripping thriller that transforms a simple car accident into a moral reckoning about revenge versus grace.
TIFF 2025 Review: EXIT 8
Exit 8 traps viewers in the same repetitive Tokyo subway loop as its protagonist, turning a video game speedrun concept into tedious pro-life propaganda with terrible CGI.
TIFF 2025 Review: SIRAT
A father and son search Moroccan raves for their missing daughter/sister in Laxe’s Sirat, following a found family of desert wanderers in what becomes a desolate, biblical thriller.
TIFF 2025 Review: SENTIMENTAL VALUE
Trier’s latest is a tender but uneven exploration of artistic ambition versus family bonds.
WEAPONS, Zach Cregger’s Masterpiece Devours the Suburban Soul
Zach Cregger’s Weapons elevates a simple missing children premise into the year’s best horror film through masterful ensemble storytelling and world-building that rivals Stephen King at his peak.
THE FANTASTIC FOUR: FIRST STEPS – Fantastic Bore
This Marvel outing commits the cardinal sin of being not only predictable but, even worse, boring.
With EDDINGTON, Ari Aster makes the strongest Coen Brothers film in a decade
Aster’s latest marks a nice bounce-back
SUPERMAN: The Best Superman Movie We’ve Ever Gotten
James Gunn delivers the first Superman film that actually feels like the comics, complete with Krypto, perfect casting, and pure superhero joy.
KARATE KID: LEGENDS – The Good, The Bad, and The Missing 20 Minutes
This Karate Kid works best when it abandons its franchise obligations altogether