TIFF 2025 Review: Rose of Nevada
Slice-of-life with a dash of sci-fi is basically film catnip for me, so when perusing the hundreds of films on offer at the Toronto Film Festival 2025, I was immediately drawn to the description of Rose of Nevada.
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 NAKED GUN is proof that parody isn’t dead
In a cinematic landscape increasingly dominated by big-budget algorithm-driven content, The Naked Gun (2025) arrives as both throwback and revelation—a clever spoof that understands the sacred geometry of the perfect gag while expanding its scope beyond police procedurals.
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
BRING HER BACK joins the Grief-Horror Assembly Line
After Danny and Michael Philippou’s electrifying debut Talk To Me (2022) redefined possession horror with its brilliant blend of anxiety and supernatural dread, anticipation for their follow-up reached considerable heights (at least they did for me). Bring Her Back shoulders the burden of that promise—and unfortunately, shows just how tough it can be to follow a breakthrough first film.
SINNERS: Coogler’s Blues-Soaked Vampire Epic Finally Sets Him Free
Coogler has delivered a film that marries horror convention with cultural interrogation in ways that feel both audacious and essential.
BLACK BAG’s espionage excellence brings Soderbergh back to form
Soderbergh’s best film in years
MICKEY 17: When Vision Gets Lost In Translation
In his follow-up to the Oscar-winning Parasite, Mickey 17 highlights a growing weakness in Bong Joon Ho’s Hollywood output
Wolf Man Can’t Teach an Old Dog New Tricks
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.
A COMPLETE UNKNOWN – The Times They Aren’t A-Changin’
James Mangold resurrects his Walk The Line formula for one of music’s most iconic figures, to everyone’s detriment.
Atlanta Film Critics Circle (AFCC) names ANORA as Best Film, Brady Corbet as Best Director, among other 2024 winners
Atlanta has made its voice heard for 2024 in film
NOSFERATU continues a perfect winning streak for our best horror filmmaker
Robert Eggers’ crafts this year’s most unlikely Christmas movie