Justine Smith

Angelina Jolie as Maria Callas suffers from an insurmountable flaw. Despite channeling the legendary soprano’s mercurial intensity, Jolie fails to bring to life Callas’s singing. Pablo Larraín’s nonlinear biopic Maria, created as a pastiche of different media and perspectives, will suddenly cut away to Jolie alone against a backdrop, with Callas’s real voice playing on the soundtrack. Jolie’s eyes light up, her mouth moves, but not even for a passing moment do we feel that the voice is pouring out of her body.

Director Isabella Eklöf talks about censoring her latest film Kalak so that it could be released in Canadian theatres.

Y2K, the directorial debut by former SNL cast member Kyle Mooney, for A24, is a blood-soaked and unfunny nostalgia grab for the year 2000.

While Timothée Chalamet and Zendaya were nominated for roles in other films, and Dune: Part Two got a well-deserved nod for Best Drama, director Denis Villeneuve was snubbed.

An interview with Japanese anime veteran Kenji Kamiyama about his very human approach to the Lord of the Rings universe.

The AQCC has released lists of the 50 best international films and 50 best Quebec movies made between 1973 and 2023.

Was a doc about a rotting moose Quebec's best film this year? And why too much 'goodwill cinema' or 'film bienveillant' signals a growing rift between audiences and critics.

We spoke with National Lampoon's Christmas Vacation director and Montrealer Jeremiah S. Chechik, back in town for the film's 35th anniversary

In an American cinema starved for good sex, a film like Babygirl can feel like a revelation. As the movie opens, Romy (Nicole Kidman) is making love with her husband. The film is shot in such a way that it defies, through point of view and framing, both pornographic and male perspectives to focus instead on Kidman’s perceived pleasure. After her husband orgasms and she seems to, she runs instead to her home office; an enclosed glass box overlooking the city. She lies on her stomach, quickly searches for soft BDSM porn and quickly cums. The laptop closes and she returns quietly and efficiently to her high-powered life as a CEO. Pleasure hangs at the edges of her life but remains elusive, ephemeral.

Depicting Bob Dylan’s life from the time he arrives in New York City to meet his hero, Woody Guthrie, to his famous “electric” Newport performance in 1965, A Complete Unknown is the latest craven corporatization of the musician’s career to grace our screen in the past decade. Walk the Line director James Mangold takes the helm in this glossy, competent, pacifying look at Dylan’s life, a film that softens not just the mercurial star’s difficult reputation but renders his environment as a branded product, removed of any of its political weight.