Andrew Kendall

The title of the thriller/psychodrama/melodrama “Serenity” is a misnomer. The film justifies the title because Serenity is the name of a boat where a great deal of the film’s action is set.

Movie production being what it is, “The Wife,” which premiered at the Toronto International Film Festival in 2017 and was released to theatres in 2018, feels very much of this time.

“Glass” recently premiered as the third part of M. Night Shyamalan’s Eastrail 177 Trilogy, which began with 2000’s “Unbreakable” and continued in 2017’s “Split.”

As a new year begins, every film critic is forced to consider the moments in cinema that burned brightest in the previous 12 months.

A seventy-year-old man walks into a bank. He is charming, diffident, well dressed.

The climax of the newly-released “Mary Poppins Returns” features the main characters attempting to, inexplicably, turn back time.

Christmas arrives on Tuesday and between the shopping and the eating and gifting most folks will be turning to entertainment to pass the days away.

The best thing about any incarnation of Spider-Man has always been his normalcy.

A Mixtec Amerindian woman and an older White Mexican woman stand in a crowded hospital room in Mexico City.

Tyler Perry has released 19 films in the last 12 years.

There is one thing that the new iteration of “Robin Hood” does better than anything I’ve seen this year.

Sara Colangelo establishes the central motif of her film, “The Kindergarten Teacher” from the opening scene, which is ostensibly unassuming but slowly devastating.

When director David Mackenzie’s kinetic, bloody war epic “Outlaw King” landed the prime opening night spot at the Toronto International Film Festival (TIFF) in September, it seemed to signal great things for Netflix and for Mackenzie, whose previous work, “Hell or High Water,” was a critical hit a couple years ago.

The French/German period piece “Angelo” and the lurid British pop-film “Farming,” both premiering at the Toronto International Film Festival (TIFF) in September, exist on starkly different ends of filmmaking but come together to ask a similar question: What does it mean to be black in a world that sees your skin as a curiosity?

Steve McQueen’s “Widows” premiered at the Toronto International Film Festival (TIFF) in September as the much-hyped and much-anticipated follow-up to his Oscar winning “12 Years A Slave”, from 2013.

Amidst the socio-political unease of the world, filmmakers this year have seemed preoccupied with examining the ways that adults sometimes struggle with protecting the children they care for.

“Bohemian Rhapsody,” more than most 2018 films, has had to justify its existence.

“First Man,” the new film by Damien Chazelle, begins in space.

Amandla Stenberg was one of a handful of actors who attended the Toronto International Film Festival this year as the star of two films.

“I have a poem.” It’s such an innocuous line but one that hides a wealth of profundity.