A Blade in the Dark (2001)

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.

James Cameron’s The Terminator (1984) marks the beginning of a wonderful two-part arc, brimming with style and substance. The film follows Sarah Connor, a waitress living in Los Angeles. One night, a cybernetic organism (Arnold Schwarzenegger) is sent back in time to kill Sarah. A human resistance fighter (Michael Biehn) is also sent back in time, with the intent of saving Sarah from this deadly foe.

This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.

J Brooke, Incluvie Guest Columnist on 'Life and Beth' and 'Sort of': while living one’s truth is freedom, speaking it as a mandatory assignment can become captivity.

A recent look at gender and racial diversity in film shows some signs of progress. However, white men still make up the vast majority of actors and directors in top-grossing films.

Canvas illustrates the story of a grandfather who, after suffering the loss of his beloved, struggles to reclaim his love for painting.