The fact that filmmaker Roland Emmerich (“White House Down,” “10,000 BC”) having to get funds outside the U.S. to finance his $100+ million epic of American history should have been a clue that more work was needed with this project.
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This year’s seasonal romantic comedy finds our former dragon queen, fully unchained from the “Game of Thrones” TV series, eagerly soaring into a film career. If you have been unfortunate enough to catch Emilia Clarke’s previous films (“Me Before You,” “Terminator Genisys”) shot between “Game…
Filmmaker David Michôd ("Animal Kingdom," "The Rover") and fellow Australian Justin Kurzel ("Macbeth," "True History of the Kelly Gang") have more in common than hailing from the same country.
Reactions out of the early awards festivals raved at the plot's twists and turns, but these expectations should be tempered. Bong’s script works at a subtle and restrained pace. "Parasite" is a comedy and a tragedy that never abandons one genre for the other.
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The comparisons between James Franco’s “The Disaster Artist” (2017) and “Dolemite Is My Name,” begin and end with two guys outside of the studio system wanting to make a movie on their own.
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The festival will feature a cook-off and a concert headlined by Clay Walker.
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Three time Oscar-winning filmmaker Ang Lee — “Brokeback Mountain,” “Life of Pi” (Best Director) and “Crouching Tiger, Hidden Dragon” (Best Foreign Language Film) — seems drawn to technological advancements that aid in telling stories that otherwise couldn’t be told.
You would never look at Todd Phillips filmography of “The Hangover” trilogy and “War Dogs,” and think to yourself, this guy could make one of the most controversial comic book adaptations of the year.
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They should print T-shirts that read: “I Survived TIFF 2019.”
“Hustlers” has many montages in it. The most important is Jennifer Lopez’ entrance, which is wild, glittery, nasty and impressive. Her physicality, along with nearly everything else, is on full display.
Whatever “Mean Creek” director Jacob Estes was going for with “Don’t Let Go,” an experiment in “Memento” type writing structure, or a modern update of “Frequency,” it’s a spectacular failure.
There was a time back in the ’90s, where action films had believable plots. You could have a thrill ride like “The River Wild” or “Air Force One” for instance, with brilliant lead performances, gripping action scenes and everything in the story was plausible.
The film opens to the song “It’s a Man’s World,” signaling the theme of DC Comics dramatic “mobster movie” adaptation and its gritty 1978 setting.
The events taking place in “Luce” are the kind that are likely to generate a multitude of discussion and debate.
Quentin Tarantino’s 9th film brings his entire career into perspective for better or worse.
Lulu Wang’s “The Farewell” was one of the most buzzed-about films at Sundance 2019, and it’s no surprise its already breaking box office records in its limited release.
Make no mistake, “Stuber” is stupid.
Director Ari Aster’s follow up to “Hereditary” was going to be met with great expectations.
“American Woman” opens with a scene from the recent past of a mother who had her daughter so young that she becomes more of a best friend to her daughter than a mother.
“Dark Phoenix” director Simon Kinberg has been involved with the X-Men movie franchise since “X3: The Last Stand” (2006).
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