Riley Keough

Awash in cliches, highly predictable, but easily watchable, the limited series adaptation of Daisy Jones & the Six should please the novel’s legions of fans while offering few surprises for anyone else.

The Devil All the Time is a strange film, not only because of its brooding, violent, and foreboding tone, but also because of the sheer exhaustion one feels while watching it.

A staggering work of mind numbing self importance and borderline toxic nostalgia baiting, Under the Silver Lake is one of the most gorgeous, boring, and nonsensical films ever made.

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.

Logan Lucky, director Steven Soderbergh first film after stepping away from the big screen for several years, is an odd duck. Tonally strange, it falls somewhere between a mainstream blockbuster and avant garde restraint. The story is a classic sort of heist caper that could be played up for maximum broad effectiveness (a la Soderbergh’s Ocean’s films), but instead it’s played straight with nary a wink or nod to the audience. It vacillates wildly between outlandish silliness, dry humour, and high drama, speeding up or slowing down whenever it feels like it. As a result of such shifting, Logan Lucky is an uneven movie, but also a thoroughly fascinating and consistently enjoyable one.

At the 2016 Toronto International Film Festival, I sat down with stars Sasha Lane and Riley Keough to talk about American Honey, the new film from director Andrea Arnold which opened in select theatres this weekend.

American Honey, filmmaker Andrea Arnold’s sprawling, warts and all look at modern Americana, is both a staggering achievement and a bit too unwieldy for its own good.