Review: Steven Spielberg’s ‘Disclosure Day’
“‘Disclosure Day’ has its moments in the sun, but even Spielberg’s inner child energy is limited.”
Review: Leah McKendrick’s ‘Voicemails for Isabelle’
“‘Voicemails for Isabelle’ might annoy some viewers with its handling of rom-com tropes, but McKendrick clearly understood objective #1: to entertain a global Netflix audience of different ages.”
Review: John Early’s ‘Maddie’s Secret’
“Camp is a near impossible sensation to manufacture without feeling forced, but Early manages to evoke it with ease in ‘Maddie’s Secret.'”
Review: John Carney’s ‘Power Ballad’
“‘Power Ballad’ is an authentic crowd pleaser that the movie’s in-universe hit single could never be.”
Review: Daniel Roher’s ‘Tuner’
“The most damning thing about ‘Tuner’ is that it feels like a very deliberate attempt to make a festival-friendly “calling card” movie…”
Review: Curry Barker’s ‘Obsession’
“‘Obsession’ refuses to underestimate the emotional intelligence of the audience and refrains from spoon-feeding viewers monologues about abuse and trauma.”
Review: Damian McCarthy’s ‘Hokum’
“‘Hokum,’ much like ‘Caveat’ and ‘Oddity,’ is pure nightmare fuel. But there’s a small tinge of hope — a suggestion that forgiveness is possible — that differentiates it from McCarthy’s previous movies.”
Short Film Review: Marcellus Cox’s ‘Jamarcus Rose & Da 5 Bullet Holes’
“‘Jamarcus Rose & Da 5 Bullet Holes,’ a 23-minute short film about masculinity and street violence, doesn’t commit to a singular message beyond the primary themes.”
Review: Cole Webley’s ‘Omaha’
“My biggest concern with ‘Omaha’ is that the third act turn feels like a calculated rug-pull which transforms a more considered slice-of-life drama into something far more emotionally manipulative.”
Review: Chandler Levack’s ‘Mile End Kicks’
“‘Mile End Kicks’ is a deliberately infuriating character study and a step-by-step guide for anyone embarking on a career as a freelance writer.”
Review: Ian Tuason’s ‘Undertone’
“‘Undertone’ is inspired, unnerving and truly a future classic.”
Review: Alice Maio Mackay’s ‘The Serpent’s Skin’
“Mackay has once again managed to do an awful lot with zero money and a ton of determination, which makes ‘The Serpent’s Skin’ much easier to admire than pick apart.”
Review: 2026 Oscar Nominees for Animated Short Film
“‘The Girl Who Cried Pearls’ is a great modern fairytale, but there’s something even more impactful left in the margins which could have elevated it beyond an effective homage into something singular.”
Review: 2026 Oscar Nominees for Live-Action Short Film
“‘The Singers is the only prospective crowd-pleaser in the 2026 Oscars’ Live-Action Short Film crop that doesn’t buckle under the weight of contrived plot mechanics.”
Review: 2026 Oscar Nominees for Best Documentary Short Film
“In a field where ‘Perfectly a Strangeness’ was surrounded by Earthly horrors, it invited the most unadventurous Academy voters to collectively imagine their place amongst the cosmos.”
Review: Corin Hardy’s ‘Whistle’
“‘Whistle’ bodes well for the future of studio horror.”
Review: Johannes Roberts’ ‘Primate’
“‘Primate’ is a bit like that memorably gruesome sequence in ‘Nope’ (2022) stretched out to feature length, but it’s smarter, meaner and more inventive.”
Review: Nicholas Clifford’s ‘One More Shot’
“‘One More Shot’ is entertaining yet forgettable.”
‘People We Meet on Vacation’ Review: The Weight of Weirdness
“‘People We Meet on Vacation’ might just mark the beginning of a new golden age for romantic comedies, at least if sub-genre filmmakers can finally move past stale screenwriting tropes.”
Review: The Adams Family’s ‘Mother of Flies’
“‘Mother of Flies’ works as both an art piece and a successful horror movie overflowing with ooey gooey and creepy-crawly ickiness.”