‘DIE MY LOVE’: Postpartum Dread Lacks Direction
Madness consumes a new mother in Lynne Ramsay’s latest vision of domesticity gone bad. Set in the isolated countryside, 'Die My Love' explores postpartum depression pushed to its breaking point…
REVIEW
REVIEW
Tatum Shines as a Lovable Scamp in Cianfrance’s Surprisingly Warm ‘ROOFMAN’
Channing Tatum is great as a charming criminal on the lamb in this surprisingly crowd-pleasing crime dramedy from Derek Cianfrance. 'Roofman' may not be his most heavy-hitting feature but it…
REVIEW
‘UNCUT GEMS’ Bets Big on Sandman’s Dramatic Chops
Adam Sandler puts on his serious shoes as a neurotic compulsive gambler in the Safdie Brother’s high-stress drama ‘Uncut Gems’. A challenging picture sure to leave you scrambled, the film…
REVIEW
‘KNIVES OUT’ Boasts Killer Ensemble Cast, Mediocre Mystery
Those wanting a taste of throwback whodunnit murder mystery will find much to enjoy within Rian Johnson’s star-studded ‘Knives Out’, just know that you very well might figure it all…
REVIEW
‘THE GIRL IN THE SPIDER’S WEB’ Trades Moodiness, Soul for Faux-Edgy Thriller
The Girl in the Spider’s Web erases the angry avenging angel elements of Lisbeth Salander to make way for a bland-washed pastiche of the character, only to then embroil her…
FESTIVAL
SIFF ’18 Capsule Review: ‘SORRY TO BOTHER YOU’
Sorry to Bother You is on its own level of strangeness. Like stranger than tentacle porn strange. Bold, experimental, and loaded with rich, cryptic and powerful themes of the African American and working-class experience, Boot Riley has crafted a sashimi raw, energetic manifesto exploding with purpose, despite flaws. Seeing Lakeith Stanfield’s lackadaisical mystique dominate a...