The Christmas Chronicles is an uneven, but strangely satisfying holiday treat.
A perfect example of a film where the style being employed in no way matches the strength of the material goods that went into making it, At Eternity’s Gate nearly wastes a decent story and an exceptional leading performance from Willem Dafoe as legendarily troubled painter Vincent Van Gogh through persnickety directorial touches.
While not as fresh and dramatically satisfying as its predecessor, Creed II is a pretty decent Rocky sequel and a bit of a step backwards for a film about the son of Balboa rival and friend Apollo Creed.
A sequel that greatly improves on the original, Ralph Breaks the Internet makes better use of its characters, sprawling video game universe, and core concepts than Wreck-It Ralph.
Falling well short of its intention to become a De Palma indebted flick for the digital age, the disappointing and tough-to-stomach thriller Cam almost succeeds in becoming captivating viewing thanks to an exceptional leading performance and an intriguing premise.
Tightly constructed and confidently crafted, the low-budget Canadian psychological thriller Touched packs a lot of power into a small package.
One of the finest, funniest, and smartest mainstream family comedies in recent memory, the moving and charming Instant Family balances flashes of snappy banter and slapstick comedy with an overwhelming amount of realism and emotional intelligence.
Joel and Ethan Coen’s western anthology movie The Ballad of Buster Scruggs showcases the filmmaker siblings’ love for an all but dead and dusted genre while simultaneously functioning as a casual tour throughout their entire careers.
With A Private War, a biopic about the life and work of war journalist Marie Colvin, director Matthew Heineman makes a convincing and confident leap from documentaries to dramatic storytelling, and Rosamund Pike delivers what might go down as her best performance to date.
The extraordinary life and career of Toronto born zoologist Anne Innis Dagg gets a loving and much deserved tribute in filmmaker Alison Reid’s documentary The Woman Who Loves Giraffes.