James Vanderbilt’s sophomore feature posits compelling ideas before settling into a more generic and tragically sterile approach to confronting the atrocities of World War II.

Harris Dickinson’s feature directorial debut is a confident and subtle exploration of a failed system that creates a cyclical form of suffering.

Richard Linklater’s ode to French cinema and the community of filmmaking that the French New Wave fostered is a breezy celebration of creativity.

Sophy Romvari’s feature debut is an assured confrontation of memory and a formally fascinating autofiction that is one of the best films of the year.

Richard Linklater’s creative relationship with Ethan Hawke yields some of their best work as the two explore the sadness of the larger-than-life Lorenz Hart over the course of a single night.

Jafar Panahi’s latest film, It Was Just An Accident, thrives within the moral murkiness of a man seeking revenge on his suspected torturer.

The movie musical is put on a pedestal in Bill Condon’s ode to cinema and its role in providing light within the darkness.

Colin Minihan’s latest film emptily gestures towards real-life concerns in a gory bloodbath of nature versus man.

Ben Leonberg’s feature directorial debut has an attention-grabbing premise, but is far better than just being a horror movie from the perspective of a dog.

Radu Jude continues his humorous and poignant commentaries on the intersection of technology and society, this time taking aim at artificial intelligence through the lens of Dracula.

Shane Black’s latest film brings Donald E. Westlake’s Parker series of novels to the action comedy space, but loses a bit of the writer-director’s charms along the way.

Adam Carter Rehmeier’s Bonnie and Clyde riff continues to solidify the director’s love of Americana cinema in one of his most accessible and crowd-pleasing films to date.

Curry Barker’s feature directorial debut features astounding tonal control that creates nerve-wracking tension from a deceptively simplistic premise.

Lucía Aleñar Iglesias' directorial debut is a subtly powerful exploration of memory and grief, while Gabriel Mascaro returns to TIFF with a celebration of life's uncertainties against a dystopian future setting.

The Toronto International Film Festival’s Midnight Madness program delivers some religious mayhem with Aleksandar Radivojević’s ‘Karmadonna’ and ambitious, grotesque stop-motion animation in Takahide Hori’s ‘Junk World.’

Park Chan-wook’s latest film is a devilish satire depicting a cutthroat world of unemployment that is as incisive and depressing as it is hilarious.

Japanese traditions and culture are viewed through two different lenses in separate films premiering at this year’s Toronto International Film Festival.

Ben Wheatley directs Derek Kolstad’s latest action vehicle for Bob Odenkirk. Wreaking havoc through rural Americana, ‘Normal’ is a mildly entertaining neo-Western elevated by its playful direction.

Chloé Zhao's 'Hamnet' tackles Maggie O’Farrell’s novel of the same name with an empathetic eye towards how death transforms us all, even in the face of unshakeable love.

Guillermo del Toro adapts Mary Shelley’s prolific gothic horror novel to astounding effect, crafting an immersive and personal exploration about art, creation, and life.