In the end, the only answer Fingernails has to offer is that it doesn’t know much more about love than you or I do. Just find someone good to figure it out with.

Widow Clicquot is a hidden secret of TIFF 2023, a well-done take on a biopic, and proof, yet again, that Bennett is an utter powerhouse.

The film has moments that glimmer like gold, but Daddio needed some more polishing before it could truly glow.

Poolman, above all else, is weird. It’s the eccentric adaptation of Joan Didion’s Holy Water in the form of a stoner noir oddball comedy.

The film is a blueprint for a new way of life. One that’s kinder, more community-focused, and that embraces differences. National Anthem is patriotic, and hopeful for what America can become.

American Fiction cuts to the core of the state of society and directs a much-needed microscope on the way we tell stories and whose voices get to be heard.

Silver Dollar Road is an exposition of the abuses of power that are leveled against the Reels family. Its story of injustice at the hands of a system that is supposed to provide justice for all remains, unfortunately, timely.

Nothing in reality is neat, so why should Seagrass be? Instead, the film is simply presenting a week in these people’s lives. No better, no worse, just the laughter, pain, and complications of life on full display.

Birth/Rebirth is a furious, gnarly, complicated look at motherhood and science, where they intersect, where they diverge, and where they circle back into themselves.

In the case of Landscape with Invisible Hand, he’s overwhelmed by the observations he wants to make. There was a tidiness and confidence to Thoroughbreds in Finley’s satirical critiques, but that razor-sharp wit seems to have dulled.

When transphobia, racism, and an alarming lack of empathy are rising. Kokomo City is an angry, passionate, proud declaration of taking up space in a world that has taken away the agency of these women.