The film tells the story of the situation after World War I, when the newly established state of Latvia had to engage in a political and military struggle for its existence. The support of the Western allies (Great Britain, France, and the United States) played a significant role in Latvia's struggle for independence. Great Britain was the first to get involved in the fight for Latvian independence, with its warships reaching the Latvian coast in December 1918. The film's script is based on historical documents, including reports to the British government on the situation in Latvia by Austin Keenan, head of the British military mission, and British diplomat Herbert Grant Watson, as well as other historical evidence. The film's visual narrative consists of reenactments, photographs, and newsreels.
Yes, "Nope" is definitely about the modern obsession with turning tragedy and horror into a spectacle for people’s enjoyment. But it's also about the power of looking, who has the right to look, and what happens to those who are looked upon.
The Gates, John Burr’s new thriller film, is a disturbingly realistic portrayal of three Black twenty-somethings - Derek (Mason Gooding), Kevin (Algee Smith), and Tyon (Keith Powers), as they accidentally take a wrong turn into a gated community that’s more like a modern-day sundown town. The three friends witness a variety of crimes in their new surroundings, including an attempted homicide and an attempted rape. As they attempt to alert the authorities and do the right thing, they are thwarted at every turn by the worst horror stories of American conservatism - racist white suburbanites, reckless gun violence, corrupt police, religious mania, and a megalomaniacal pastor.
In this high-flying mission, the pups gear up with jets to stop the Duke of Flappington and save Barkingburg.
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.
It is the attention to detail that makes Wolfwalkers resonate more than Luca for Queer representation
'My Policeman' simultaneously delighted and disappointed audiences at TIFF, but everyone can agree that the performances and truth of the story will convince audiences that this film is worth the watch.
