Author: Derrick Murray

The awards season is upon us, which means every film from every studio is in full campaign mode. This means that screenings, releases, interviews, BTS clips etc are flooding the interwebs and marketing, making it nearly impossible to keep up with it all to review it properly. I would love to tell you that I have time to review each and every film individually, but the post TIFF catch up has been even more daunting than ever and I simply don’t have the bandwidth to cover everything the way I would want. Nevertheless, I can give some quick reviews on…

Nosferatu is a deviously demented descent into the macabre, an impeccably crafted horror atmosphere cloaked in candlelight and shadows. Stunning cinematography, excellent cast, terrifying visuals and haunting score, it is impossible not to succumb to the darkness.

Longing has never felt so visceral, and “Queer” brings that to life with incredible visual flare and powerful, daring performances.

“All We Imagine as Light” is a quiet slice of life film that bursts with serenity and honesty as it explores the lives of women in and out of love.

“A Real Pain” is the real deal, a brilliantly smart road trip drama about grief and loss that seamlessly oscillates between humor and heartache in profoundly human, deeply personal yet somehow wholly universal ways.

Believe the hype, “Wicked” is worth it. It is a blast from start to finish, will make your heart sing and leave you singing with a smile from ear to ear.

It is the ambition that keeps “Bird” from taking flight. The tonal shifts from unexplained fantasy story beats injected without warning against a grounded backdrop never quite mix, leaving you more confused than intrigued or pensive.

“Flow” is must see cinema, a boundary pushing animation achievement and one of the best animated films of the year. Hell, it may very well end up being out of the best films of the year, period.

Believe the hype, “Anora” is the best film of the year. An electric, propulsive, deconstructed love story with a star making performance at the helm.

Overall, I only liked “The Piano Lesson.” Its inescapable adaptive missteps work as a detriment and make it last on the Wilson adaptive list.