corporate animals 4.5

CORPORATE ANIMALS Review

You can see the movie that Corporate Animals wants to be, as there are instances when its wild mixture of satirizing capitalism, horror comedy and peculiar banter create some moments that succeed in being uniquely funny.

cropped-Auggie-Still-56_preview 2.5

AUGGIE Review

Auggie broaches the issue of A.I. relationships with the diminutive, surface-level approach of a bad “Black Mirror” episode.

VILLAINS_FirstLook_Approved 7

VILLAINS Review

The strong script and deliciously deranged performances, coupled with its intriguing premise, ultimately redeem the film from a disappointing ending that unfortunately doesn’t amount to much.

firstlove_01A 6.5

Tiff 2019: FIRST LOVE Review

Settling comfortably into the familiar subject of a yakuza turf war, First Love sees eccentric director Miike delivering a standardized but darkly comedic action-crime odyssey.

Einstürzende Neubauten 6

DESOLATION CENTER Review

As a documentary, Desolation Center is serviceable, but is best suited to those like me who have a fondness for this era of punk rock or who are curious in how these giant desert festivals got their start.

parasite 10

TIFF 2019: PARASITE Review

Parasite is a defiant piece of class critical cinema which features a director in obstinate control of his message, vision and artistry.

ONE CUT OF THE DEAD STILL 2 8.5

ONE CUT OF THE DEAD Review

It is not everyday you walk away from a film and think the 30-minute, one-take aspect is the least interesting about it, but it is rings true for Ueda's layered horror comedy experience.

01124712_06262019 7.5

HAUNT Review

Haunt is a horror film that’s minimal by design, stripping away needless exposition and boiling the formula down to its base essentials

Freaks 7

FREAKS Review

This genre-bender is the type of movie best seen cold, with no knowledge of any plot details beforehand, in order to truly benefit from its wild thematic shifts.

DEPRAVED screenshot_David Call as Henry_©Glass Eye Pix 7.5

DEPRAVED Review

In the best Frankenstein-like story since the unironically great Frankenhooker, Larry Fessenden’s first directorial effort since 2013’s Beneath marks his most ferociously entertaining feature to date.