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‘The Only Living Pickpocket in New York’ Review: John Turturro Gives a Layered Performance in Superbly Mounted Character Study

There’s a scene in Noah Segan’s The Only Living Pickpocket in New York that perfectly captures the layers of John Turturro’s slick, calculating street thief, Harry Lehman. It might be the best demonstration of the veteran actor’s skills as someone who has never gotten the flowers he’s always deserved. The heartbreaking story in The Only Living Pickpocket in New York Turturro’s Lehman dances to

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‘Ramayana: Rise of a Legend’ Review: A Technical Masterpiece Dragged Down By Part One Problems

The budget of Nitesh Tiwari’s Ramayana: Rise of a Legend is ridiculous. The budget is as high as $500 million in American money, which is extreme given how risk-averse Hollywood has gotten. In India, it’s already the country’s most expensive movie. The two-part epic has imported top-tier Western talent to bring Valmiki’s poem to life—a vision as ambitious as Peter Jackson’s

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‘Klara and the Sun’ Review: Taika Waititi Destroys Kazuo Ishiguro in Ridiculous Adaptation

Anyone who turned on Taika Waititi post-Hunt for the Wilderpeople may be the most vindicated individuals in the universe upon seeing his adaptation of Kazuo Ishiguro’s Klara and the Sun. The Japanese-British writer’s thought-provoking, emotive prose is reduced to a bevy of unfunny TikTok-lite jokes that hamper a genuinely heartfelt story. This adaptation might have been something truly special on the

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‘The Social Reckoning’ Review: Sorkin’s Inept Follow-up to ‘The Social Network’

Anyone who thinks image-making matters less than “the story” (whatever that means) should watch David Fincher’s The Social Network and Aaron Sorkin’s The Social Reckoning side by side. Shot by the same cinematographer, Jeff Cronenweth, it won’t be long before you realize why Fincher’s film stands the test of time as one of the most impactful masterpieces of the 2010s. But

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‘Verity’ Review: Showalter’s Film Adaptation of Colleen Hoover’s Work Misses the Point

The one good thing about Michael Showalter’s Verity is that it has more verve than previous adaptations of Colleen Hoover’s work. It’s not very good, but at least Showalter has fun with compositions that recall the oeuvres of Brian De Palma and Paul Verhoeven. Plenty of split-diopters and superimpositions create a quasi-campy quality as cinematographer Jim Frohna captures Lowen Ashleigh’s (Dakota

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‘Forgotten Island’ Review: Fun Filipino Familiarity At Its Finest

In collaboration between DreamWorks Animation and Sony Pictures Imageworks, here comes Joel Crawford and Januel P. Mercado‘s Forgotten Island. Taking place in the 1990s/early 2000s Philippines, the fantasy comedy film follows two young women about to be separated by a fork in the road. Raissa Molina (voiced by Liza Soberano) is accepted into a university in California, but it comes at

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‘Ha-Chan, Shake Your Booty!’ Elevated by Rinko Kikuchi’s Performance | TIFF 2026 Review

Within the first second of Josef Kubota Wladyka’s Ha-Chan, Shake Your Booty!, the American filmmaker of Polish and Japanese descent immediately grabs our attention with large (and maximalist) title cards that announce a boisterous theatrical event. Divided into six chapters (plus an epilogue), Wladyka follows a Japanese dancer named Haru (Rinko Kikuchi), who competes in ballroom competitions with her boyfriend Luis (Alejandro Edda). A story

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‘Resident Evil’ Review: A Masterful Adaptation | Fantastic Fest 2026

Resident Evil does not follow the video game’s exact plot. This has been a frequent complaint online. While that’s true, none of Paul W. S. Anderson’s movies followed the exact plotline. For the most part, almost none of the movies follow the story, and the only one that came close flopped two years ago. So what is a filmmaker to do? Zach

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‘Insidious: Out of the Further’ Review: A Strong Start Can’t Save the 6th Film

The first forty-five minutes or so of Jacob Chase’s Insidious: Out of the Further are excellent. In that section, there are two incredible setpieces that genuinely had me on the edge of my seat. One is a Backrooms-inspired liminal horror that sees its protagonist, Gemma (Amelia Eve), trapped in a never-ending, claustrophobic hallway with creepy-looking creatures that do little more than

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