Spider-Man: Into the Spider-Verse is nothing shy of brilliant; the only truly unmissable blockbuster of the holiday movie season.
A daring, but dazzlingly realized reworking of Rudyard Kipling’s The Jungle Book, Mowgli: Legend of the Jungle is a successful risk that might not be suitable for the youngest of children, but is certainly one of the better and more soulful effects driven blockbusters of the year.
Deliberately grotesque, unapologetically foul-mouthed, and frequently hilarious Canadian comedy The Go-Getters revels in bad taste and worse behavior.
A gleefully off-beat mash-up of teen angst, jabs at yuletide cheer, horror movie gore, and show-stopping song and dance numbers, Anna and the Apocalypse runs through a handful of dissimilar genres at the same time to maximally entertaining effect.
Documentarians Alyssa Fedele and Zachary Fink’s The Rescue List, which screens this weekend at the Human Rights Film Festival in Toronto, brings to light an often overlooked form of child slavery that has been ongoing for decades, and examines the healing process faced by those who lived through it.
The balanced, emotionally charged, and indispensable documentary Charm City, which screens in Toronto this weekend as part of the seventh annual Human Rights Film Festival, should be mandatory viewing for anyone looking to get into community activism, policing, or politics.
The seventh annual Human Rights Film Festival kicks off this Friday at the Hot Docs Ted Rogers Cinema with a screening of the documentary TransMilitary, an excellent look at the struggles faced by transgender members of the American armed forces.
An insightful and thought provoking (but not exactly dramatic) look at one of the biggest names in product design, Gary Hustwit’s documentary Rams profiles a man that’s frequently credited with changing the ways customers look at consumer goods.
Master German filmmaker Margarethe von Trotta blends biography, analysis, and appreciation in her documentary Searching for Ingmar Bergman, a look at a fellow famous auteur that refuses to give in to idolatry or simplistic readings of a man’s life and works.
While it isn’t as perceptive, entertaining, or insightful of a documentary about talented musical impersonators as it could’ve been, Barry Lank’s Almost Almost Famous does an okay job weaving together the narratives of three subjects who make their living largely by pretending to be someone else.