AN OCEAN 

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch

'The Fablemans' is Spielberg's most personal work to date, the cast delights audiences at the TIFF premiere.

The Force Awakens is A New Hope 2.0, in essence. The story structure is virtually unchanged, marking a safe opening to the new trilogy.

Disney has hopefully learned some lessons since 1994. Are those lessons reflected in the 2019 remake of "The Lion King?"

April, a professional dancer, reluctantly trains a group of girls at a dance school for the dance competition.