The Predator is a thrilling romp filled with more than enough bloody kills, dripping entrails, pretty explosions, zingy one-liners, and gearshift shocks to please the midnight monster movie crowd as much as a Friday day multiplex audience.
TIFF 2018: The Predator Review
Office Christmas Party opens across Canada December 9th, but you can attend an advanced screening courtesy of Paramount Pictures on December 7th in Toronto, Ottawa or Montreal.
X-Men: Apocalypse is extremely faithful to its source material, but does that make it a good movie?
Here's one it probably feels like you've been waiting a really, really, ridiculously long time for. Enter for your chance to win passes to advanced screenings of Zoolander 2 in Toronto or Montreal.
We sat down with Me and Earl and the Dying Girl's director Alfonso Gomez-Rejon to talk about adapting this novel to the screen, the delicate balance the film strikes between tragedy and comedy, and how to avoid cliches while telling a high school coming-of-age story.
The dreadfully unfunny Mortdecai is every bit as dire as its pre-release buzz suggested.
The stories of episode three continue to be removed from the flash-forward mystery conflict seen in the season two premiere of The Newsroom. Much like last week’s episode, the show forces us to ‘...wait for it’ without even knowing what ‘it’ is. That being said, there are still some fun moments.
The new season of HBO’s The Newsroom is up and running, and the second episode, "The Genoa Tip," is principally spent maneuvering us towards the season’s larger ongoing stories. We get some long-overdue progress in the Jim-Maggie-Don love triangle, more of intrepid-as-opposed-to-incompetent reporter Neal Sanpat, and more than one genuinely fun scene featuring Sloan.
While The Newsroom's first season often mistook ripped from the headline fact for character and simplistic moralizing for profundity, having watched the first four episodes of season two we are happy to report that showrunner Aaron Sorkin seems to have fixed many of the problems that plagued the first season... and in a few cases replaced them with all new problems.
Episode four of Aaron Sorkin’s The Newsroom, "I’ll Fix You," is a fairly engaging episode which delves the furthest into Will’s personal and emotional life thus far. Despite the strong character moments for McAvoy though, it's beginning to seem as though the female characters on The Newsroom exist pretty much only to instigate plot.
In many of the series reviews I've read of The Newsroom, critics unanimously declared that the pilot, "We Just Decided To," was the strongest of the first four episodes. For me, however, this Sunday's episode, "The 112th Congress," is easily Sorkin's strongest stuff thus far, at least partly because of the episodes effective structural reliance on a device that Sorkin memorably used in David Fincher's The Social Network.
After a promising but problematic pilot, the second episode of Aaron Sorkin's The Newsroom should have brought things together and smoothed out some of the rough edges. Instead, it's very clear that the series is still struggling to find its feet. Worse, it almost squandered what interest we had in the series by repeating itself in just the second episode.
Pilot episodes are notoriously hard to pull off. The writer must introduce characters, themes, and settings, all while telling a very specific type of “jumping off” story likely bearing little resemblance to the episodes that will follow. Such is the case with “We Just Decided To,” the first episode of super-creator Aaron Sorkin’s new show The Newsroom.