The vocation that takes center stage in director Uta Briesewitz’s “American Sweatshop” is so depressingly prescient that it’s surprising its particularities haven’t been mined for a genre project until now.  The film focuses on Daisy Moriarity (Lili Reinhart), who works as a content moderator, where she reviews videos flagged for potentially problematic content and either

There was much ado about some of the biggest festival favorites and premieres coming to the 50th Toronto International Film Festival, and no shortage of what to watch between the various categories. Among one of the heralded festival favorites to make its Canadian premiere was Chloé Zhao’s breathtaking adaptation of Maggie O’Farrell’s “Hamnet.” Rich in

In the final episode of the first season of Prime’s  “Gen V,” our young heroes were left defeated and imprisoned, seemingly left to rot as the world went on without them. Since then, we got Season 4 of “The Boys” last summer, ushering in the setup for the series’ final season and the progression of

A handy portal to all of our coverage from this year’s Toronto International Film Festival, organized by critic. BRIAN TALLERICO FULL REVIEWS: “Ballad of Small Player“ “Blue Moon“ “Good Fortune“ “The Lost Bus“ “The Man in My Basement“ “Sentimental Value“ “The Smashing Machine“ “Steve“ “Train Dreams“ “The Ugly“ CAPSULE REVIEWS: “&Sons“ “Amoeba“ “Arco“ “Bad Apples“

Sophy Romvari’s “Blue Heron” has been one of the breakout critical darlings of the fest circuit, premiering at Locarno to raves before traveling to TIFF for more of the same. At first, her debut feature feels a bit familiar, a memory piece about a troubled brother that the one remembering couldn’t save, but Romvari pivots

The title for “Fuze” fills the screen, accompanied by loud house music, and the smeary credits that follow are over in a blink. From its first frame, this thing moves—so much so, moving so fast through its set-up, that initially it’s a little tricky to tell exactly what the hell is happening, or who these

Following the success of “Squid Game,” the storytelling flair found in Korean dramas has reached new heights in popularity. As with every style of television from every country, there have been pops and fizzles; still, there’s something about the imaginative plots and constant cliffhangers that pulls American viewers back to our screens for more K-drama.

Interesting leading men and women dominate this unusual dispatch, one that gathers films that have almost nothing in common on paper, itself a testament to the variety of styles one can find at a festival as broad-reaching as TIFF. The best of the three is the intense, unforgiving “Wasteman,” another evidence exhibit in the case

Stop me if you’ve heard this one before, though that seems unlikely: two guys walk into a twin bereavement support group and uncover an unexpected rapport. Before long, they’ve formed a friendship that—somewhere between mutual healing and toxic codependency—leaves them considering, and quietly hoping, that they’ve somehow stumbled back across their other halves.  To say

Venice had a remarkable non-fiction portion of its 2025 program, including new films by Werner Herzog and Laura Poitras (both covered here). The programmers for Venice don’t fall for generic documentaries shaped by anecdotes told by talking heads, leaning instead on the projects that say as much about their creators as their subjects. Ross McElwee,