'Freaky Friday' by way of 'Strange World', Nathan Greno’s 'Swapped' is at its best when none of its characters are talking. Visually imaginative but emotionally underpowered, it’s a mostly inoffensive, largely algorithmic animated flick that…
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David Lowery's hypnotic 'Mother Mary' is a breakup song filtered through the lens of a ghost story, mounted with spectacular production elements and stitched together with unreal performances…
When I told John Magaro I’d watched Omaha twice and was still recovering, he laughed and apologized. It’s a tough movie, but one that’s nevertheless rewarding and Magaro’s powerful, largely wordless turn powers the film confidently. Cole Webley’s debut feature, written by Robert Machoian, is a road trip movie with a dark destination, a slow-burn...
'I Swear', Kirk Jones’ biographical account of Tourette’s advocate John Davidson, is a moving and often very funny drama that finds compassion in contradiction, anchored by a breakout…
SIFF 2026 rolls into Seattle next month with its usual sprawling, borderline-unruly lineup — hundreds of films from dozens of countries crammed into twenty-five days of screenings. It remains, by attendance, the largest film festival in the United States, and one of the last festivals in the country that still programs with the kind of...
This 'Faces of Death' reimagining from Daniel Goldhaber isn’t going to convert any new horror fans, but this overtly schlocky, grindhouse B-movie…
You ask great questions.
Bob Odenkirk does not read as an action star. He knows this. You know this. And yet, here he is, three films deep into an unlikely second act as a guy who takes and delivers beatings on screen with the kind of bruised conviction that most traditional action leads can’t touch. With Normal, directed by...
In 2026, Amanda Peet isn’t interested in holding anything back. In her most recent role in Fantasy Life, she plays Diane, a mother of three and working actor navigating a life that, on paper, is fully intact and quite successful, but internally feels much less stable. It’s a performance that resists easy categorization: there’s no...
Eva Victor’s Sorry, Baby doesn’t announce itself. And yet, it arrives fully formed, like someone who’s spent enough time in therapy to know that the best medicine is to laugh at their own ridiculous idiosyncrasies. Premiering at Sundance, closing out Director’s Fortnight at Cannes, and now screening at SIFF, the film has quietly (and then...
The art of cinema is being systematically devalued and reduced to its lowest common denominator. Anyways, here’s what’s streaming now!
Julia Ducournau’s third French body horror 'Alpha' is a concussive portrait of a family strained by the specter of a deadly virus,…
A masterfully assembled nightmare of all-encompassing horror, Ian Tucson’s 'Undertone' is as immersive as it is bone chilling, featuring truly elite sound…
Nia DaCosta proves a steady hand in continuing the 28 Years Later story, this time framing it as an ideological battle between…
Johannes Roberts' brutal—and brutally effective—chimp gone bad horror joint Primate champions unrelenting tension and jaw-dropping gore, making this a January horror movie…
A campy erotic thriller that balances entertaining schlock, unapologetic titillation, and a steady stream of juicy twists, Paul Feig's 'The Housemaid' unleashes…
Overlong, repetitive, and dull, 'Avatar: Fire and Ash' commits the cardinal sin of being both excessive and unnecessary, adding little to the…
