Tim Fehlbaum’s latest film is an exacting portrait of ethics and objectivity in live journalism, with a cast and attention to detail that elevates its workmanlike approach.

Woo Min-ho’s latest historical political thriller is an uninteresting depiction of resistance in Japanese-occupied Korea.

Robert Eggers’s latest film takes a familiar narrative and imbues it with terrifying imagery and unparalleled immersion.

Joshua Oppenheimer’s debut narrative feature is a baffling mix of genres that still manages to reflect the evils of humankind.

Ridley Scott returns to one of his most prolific films with a sword-and-sandals epic that is both satisfying and disappointing.

Edward Berger's papal thriller turns an otherwise sterile screenplay into a lavish and focused commentary on the current political landscape.

Daniel Roher and Edmund Stenson’s documentary on a congenital condition that takes a family across the world is a heartwarming and slight experience.

Matthew Rankin's sophomore feature is an imaginative and heartfelt celebration of human connection in a fictionalized Canada.

Sean Baker's latest film is an exciting and tense whirlwind romance, led by a tremendous performance and infectious energy.

Kazik Radwanski's latest film is a richly textured analysis of creative people wrestling with modern-day anxieties.

Coralie Fargeat's sophomore feature is a maximalist body horror masterpiece that is both unflinching in its extremes and remarkably assured in its direction.

A collection of reviews from the 43rd edition of the Vancouver International Film Festival for Ari's Theme, The Chef & The Daruma, and Inay (Mama).