Suede: The Insatiable Ones Documentary Review

‘I once described the history of the band as being like a pram that’s been pushed down a hill. There was always a hint...

Halloween 2018 Review

Is there any subject in the history of cinema more divisive and debated than a sequel? Whether or not follow-up films are necessary and...

Film Review: The Fruit Machine

It was the estimable Pierre Trudeau who, in 1967, boldly announced that the government had no place in the bedrooms of the nation. Two...

Tully Film Review: A masterclass in modern storytelling

By Jacqueline Howell Astute filmgoers likely don't need to revisit the exciting trajectory of Diablo Cody and Jason Reitman and the solid, original movies they've...

Solo: A Star Wars Story Review

Han Solo is first introduced as a smuggler whose only interests are money and himself in 1977’s Star Wars: A New Hope. From then on,...

The Wedding Present Live in Toronto and Documentary Premiere of Something Left Behind

The Wedding Present Live in Toronto and Documentary Premiere of Something Left Behind “The album always gives you that shot of what you need” “Simply the...

Duncan Jones’ Mute: No Words

By Jacqueline Howell, Disarm Editor I urge you to set aside two hours this weekend to watch the best film since 1982's Blade Runner of...

Black Panther Review: All Power to the Picture

Marvel Strikes Black Gold with their Latest Hit By Patrick O'Donnell Despite constant critiques by film industry detractors of audience fatigue and superhero saturation in the...

An open letter to Noah Baumbach upon viewing The Meyerowitz Stories

Dear Noah, Please excuse this voice from the chorus of your fans coming out of the dark. I just finished watching The Meyerowitz Stories (New...

Loving Vincent Review

In cinema’s infancy, colorists, largely female, were engaged to chemically bathe or painstakingly stencil celluloid images in an attempt to add grace notes of...

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