Actor Bradley Cooper’s feature directorial debut A Star is Born, a retelling of the well worn tale about a relationship between a washed-up performer and an up-and-coming talent, is an assured, electrifying, and expertly crafted motion picture that lives up to nearly every ounce of hype it has received recently.
Although Jeremy Saulnier has made a name for himself directing two of the most celebrated thrillers in recent memory (the atypical revenge picture Blue Ruin and the punks versus neo-nazis siege movie Green Room), his latest effort, the beguiling and haunting Hold the Dark, represents an artistic quantum leap for the filmmaker.
Canadian documentarians Jennifer Baichwal, Nicholas de Pencier, and Edward Burtynsky continue their examinations into the various ways mankind has irreparably damaged the environment with Anthropocne: The Human Epoch, a nod to a new and current scientific era where man has had more impact on their environment than the world’s natural state has had on human beings.
Director Jeremy Saulnier is no stranger to dark material, and his latest feature, Hold the Dark (arriving on Netflix this Friday and opening theatrically in Toronto the same day), might be his darkest, most challenging, and most ambitious work yet.
More of an insightful, nuanced, and comprehensive character drama than a detail oriented period piece, director and co-writer Wash Westmoreland’s Colette takes a historically significant literary figurehead and builds upon them a great amount of contemporary themes and parallels.
Quincy Jones has lived a life so rich, complicated, and noteworthy that one could fill a yearlong television series with his exploits, so the single two-hour documentary Quincy can only do so much to contain such a larger-than-life personality.
Dan Fogelman’s almost admirably insane Life Itself serves as a deep dive into the psyche of the creator of television’s hit series This is Us.
Fahrenheit 11/9, the latest long-form polemic from documentarian and pundit Michael Moore, definitely earns its sequel insinuating title, but not in ways that most viewers will be expecting.
While some could read The Land of Stead Habits, the latest feature from writer-director Nicole Holofcener as a tale of one man’s mid-life crisis, it’s more a pointed, poignant, and frequently funny indictment of privilege and suburban malaise.
The 1980s set gangster flick White Boy Rick gets off to a fast paced, but rocky start before eventually settling into a predictable, but more assured groove.