Exploring the films of the great Mike Leigh in The Criterion Channel's director spotlight.
Who can we trust in Fox’s new The Woman in the Window trailer?
Director Steven Soderbergh's The Laundromat – starring Meryl Streep, Gary Oldman, and Antonio Banderas – is a dizzying madcap whirl that will give audiences the rinse and the spin they need.
Tamara Khodova reviews Steven Soderbergh's The Laundromat – starring Meryl Streep, Gary Oldman, and Antonio Banderas – from the 2019 Venice Film Festival. Does this star-studded dramedy live up to Soderbergh's previous work?
Four powerhouse documentaries play at The Bloor this week (including two of the year's best) alongside a plethora of special events.
A slight step above its rather silly predecessor, Dawn of the Planet of the Apes decides to go the deathly serious route instead of keeping things light and fun with decidedly mixed results.
Hannibal is a show about the pain of empathy, and "Mizumono" hurts. The finale brings the Ravenstag story arc to a conclusion in a brutal way.
When it comes to understanding exactly what to expect from Hannibal, the two most important characters are symbolic representations of who Will Graham and the titular serial killer are not. At least not anymore.
“Tome-Wan” is Hannibal at its most distilled and sustained. Showcasing the series’ underlying dark humour, this is the tightest, most mesmerizing hour of the series. To use the words of Mason Verger: I am enchanted and terrified.
“Ko No Mono” shifts to an unreliable narrator, allowing us to experience the first truly heartbreaking moment in Hannibal. Using the most iconic image from Red Dragon, we also get a glimpse at who’s really pulling the strings in this show.
In addition to being Hannibal’s most self-reflexive hour, “Naka-Choko" features a really steamy sex scene that takes place in two separate rooms and involves four humans, a theremin, and a Manstag.
In “Shiizakana” we are asked to forget the fast paced, twisty-turny, Will Graham-on-trial arc that velocitized our television watching appetites earlier this season, and to get used to the emotional and psychological contemplation of the now classic Hannibal as an episodic nightmare format.
In “Su-Zakana” the cocoon constructed of mystery novel pages, fond pop-culture memories, Hollywood disappointments, and countless other symbols that once encased Hannibal has cracked open, and out of it has come a new and unpredictable kind of butterfly.
On this episode we review RoboCop starring Joel Kinnaman, Gary Oldman, and Michael Keaton. We also speak with comic legend Chris Claremont about re-release of Marada The She-Wolf.
If you can put aside your feelings towards the original film long enough to accept an updated facelift to the RoboCop narrative is passably entertaining, but also worthy of being judged more on its many newer faults rather than by any unfair comparisons to its forebearers.