The Forgiven (2021)
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Privilege and mischief of the white variety are at the centre of The Forgiven, a satirical, oft compelling drama that…
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The Latin From Manhattan (2022)
Given that director Thomas Mignone explored the world of child abuse in his feature On The Doll with an unflinching…
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The Retreat (2021)
Whilst director Pat Mills (Guidance) and screenwriter Alyson Richards (The Sublet) don’t exactly travel anywhere entirely unexpected with The Retreat,…
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Small Town Wisconsin (2022)
As much as Small Town Wisconsin plays with the cyclical archetypes that tend to plague middle-America – that of long…
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The Innocents (2021)
The horror genre has always embraced the archetype of “the creepy child”. Most of the time you want to yell…
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We’re All Going to the World’s Fair (2021)
From the moment young Casey (Anna Cobb in a captivating debut performance) stares directly into her webcam – which, in…
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Doctor Strange in the Multiverse of Madness (2022)
In the later stages of the Infinity Saga, there was a rigidity on both fronts of storytelling and creativity in…
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The Northman (2022)
The Northman feels like a film forgotten by the 80’s. A harkening back to a more fantastical brutality, it could…
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Cinequest Film Festival Review: Maybe Someday (2022)
From the moment Michelle Ehlen’s Maybe Someday begins, it’s all too obvious that heartbreak is the core emotion of the…
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Ambulance (2022)
Somewhere in the heaving, screaming twisted metal of Ambulance is a taut, effective 90 minuter that could have been Michael…
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