The Permanent Rain Press

Minor movie spoilers ahead.

I was surprised at how gory the movie was in many parts. There are bloody scenes straight out of a horror movie. The squeamish may want to turn away. One scene with a hand still has me cringing. The first half is ultra-violent, with lots of dismemberment and murder as Robin and his old friend Little John (a nearly unrecognizable Bill Skarsgård) continue their attacks. It’s a bit of a turn-off and not what I expected. 

Eventually, Robin makes his way to a priory on a remote island, a religious sanctuary of peace. The violence takes a backseat as he is slowly healed from a nasty injury by Sister Brigid (Jodie Comer). Other residents include a dying, disfigured leper (Murray Bartlett) and another new arrival, the teenaged Arthur (Noah Jupe). All have mysterious connections to the outlaw’s past, as he reconciles with his life and harms. The movie’s title may or may not be literal - I won’t give that away here. However, it does symbolize the death of the story, of the myth of Robin Hood known to these characters, including the man himself, as well as the audience. 

I’m a big fan of director Michael Sarnoski’s previous two films, Pig and A Quiet Place: Day One. Both involved a troubled protagonist reflecting on grief, mortality, and a personal world turned upside down. This main theme continues here, where it’s a quiet reconciling journey. This is a character study carried by the cast. There are many directions one can take with such a famous tale. Sarnoski takes a unique approach while adapting the 17th-century ballad Robin Hood's Death, uplifted by committed performances all around. 

The cinematography is another highlight. There are some absolutely gorgeous shots of the UK (filmed in Northern Ireland) countryside, beaches, cliffs, and forest, particularly in the first half. Many of the scenes are meditative with little dialogue. It feels a bit slow, but it’s also very effective. The remote locations tell a story and enhance the atmosphere. The fog and clouds make the environment feel dark, isolated, and even dangerous. There’s a ton of natural lighting in day and night. I could have watched two hours of that, no dialogue needed.

Sadly, the talent behind and in-front of the camera cannot make up for a dull script and story. 

Unfortunately, this doesn’t hit the originality or emotional beats of Sarnoski’s other feature films. There was a real attempt here and everyone did a great job. However, I never quite connected with it on an emotional level. It often felt detached, almost empty. The emotion just wasn’t there. I appreciated the character’s development and arc, but never felt sadness or empathy towards Robin Hood. It’s not at all a poor film, and fans of the cast will be captivated by their portrayals. There just felt like a little something was missing - perhaps it was too grim for its own good. Maybe, we needed a little more hope amongst the grime, although there is definitely some light to be found in the end. 

It’s a mixed bag, but there’s a real display of artistic flare. Ultimately, even if it doesn’t quite come together emotionally, The Death of Robin Hood features unquestionable passion and detail. It’s intense, nasty, and very serious, and perhaps that’s what the whimsical folk tale needed. It’s definitely appropriate for the world of 2026.

Written by: Cazzy Lewchuk

Major movie spoilers ahead.

Visually, this is a gorgeous release that pops on your screen. The colours, fine detail, and overall quality really stand out. Even at home, it offers the vivid feel of watching in a big screen theatre. This is high quality animation, made and transferred to home viewing options with care. It’s bright, bold, and beautiful. The movie's third act has an especially dazzling flare, with lava, stardust, and a rotating space station. I’ve rarely seen CGI animation this fine. The backgrounds and cosmic features look lifelike, better than even some live-action space films!

We waste no time with the plot, opening with Princess Rosalina (voiced by Brie Larson) and the adorable star beings Lumas, collectively (and adorably!) voiced by co-director Michael Jelenic’s young daughters. The Lumas will no doubt warm the heart of any viewer. The princess is quickly abducted in a UFO by Bowser Jr. (Benny Safdie), the long-lost near-identical son of key antagonist, Bowser (Jack Black).

The action shifts to Yoshi (an unrecognizable Donald Glover), another new character, whose introduction was teased at the end of its predecessor. After being hatched, we get a great sequence of him accidentally visiting New York City and causing trouble. He soon meets our favourite Italian brothers Mario (Chris Pratt) and Luigi (Charlie Day), who are called to rescue the princess by an escaped Luma in true Super Mario Bros. fashion. They even team up with a (maybe) reformed Bowser to do so.

What follows is a fast hour-long montage of visiting various planets in the Gateway Galaxy searching for Rosalina. There are strange alien creatures, monkeys, and even dinosaurs. I’m not very familiar with the video game lore, but there’s lots of worlds and Easter Eggs for fans to recognize. It’s all rapid, maybe even confusing, but it’s never a dull moment. 

Fox McCloud (Glen Powell) of the Star Fox franchise is a real highlight. There’s a hand-drawn animated scene showing his backstory, which is one of the best scenes of the movie. He’s extremely cool (as corroborated by Luigi) and a fan favourite. If Nintendo wants to launch another franchise, I’d welcome a spin-off.

The newcomer characters and actors balance out an already stacked celebrity cast. All of the performances bring to life and improve on the first movie. Everyone really commits, bringing their best to an audio-only role. I did want more screen time for the princesses - Peach (a returning Anya Taylor-Joy) and Rosalina don’t really get their moment until the end. 

The overall visual frenzy really saves this. It’s engaging and clearly for the younger ones, but it’s dazzling to watch for all ages. I didn’t always understand the finer details, but it’s so immersive at its core. It’s never too goofy or juvenile, and is earnest in telling a 'serious' story with these characters. There are real stakes and tension without being too intense. 

I’d definitely watch this again! The Super Mario Galaxy Movie is wholesome and entertaining, a carefully-crafted tribute and enhancement to a powerhouse franchise. The wait was worth it. There’s so much to notice and smile at. 

The physical release is rounded out by over an hour of extras. There are bonuses and interviews with the cast and crew about bringing the characters, worlds, and decades worth of games to life. These additions are perfect for any major fan or curious newcomer. I would have liked to see more technical aspects of the animation process and longer bonuses overall. However, in a world where physical media is often sidelined and many new releases come with no extras, I really appreciated these features.

Written by: Cazzy Lewchuk

The film stars Talk to Me breakout Joe Bird as Naim, a teenager who’s just moved into a small, industrial Australian town with his religiously devout mother (played by Mia Wasikowska, who was also an executive producer on the film), and eventually forms a romantic bond with his new friend Ryan (Stacy Clausen). One thing leads to another, and after being exposed - the duo are subjected to a conversion-therapy ritual in which a supernatural entity takes the form of the ones they desire most (in this case, each other).

The true horror here lies not in the supernatural, but in the devastating reality of being unable to openly love the ones you feel for. The narrative delves deeply into themes of religious fundamentalism and the trauma of conversion therapy, transforming what could have been a standard genre piece into a poignant coming-of-age story that masterfully wrestles with repression and identity. Both leads give compelling performances that breathe profound empathy into these heavy thematic elements. 

Despite this rich focus on characterization and identity, the plot can occasionally feel a bit thin, rendering the final product as a reimagining of the modern horror classic, It Follows. Chiarella’s metaphors sometimes feel a little too “on-the-nose." However, where the narrative structure falters, the central romantic aspect carries the piece, elevating the film beyond its flaws. 

Nonetheless, Leviticus stands as a unique debut that is absolutely worth a watch for horror fans—particularly those looking for a genre film with genuine emotional resonance and social commentary. Chiarella has crafted a tense and claustrophobic atmosphere that allows people to be seen in an increasingly hostile world.

Written by: Timothy Nguyen

Visually, it looks great. The shots of the fantasy (and He-Man's home) planet, Eternia, and of course, the iconic Castle Grayskull, immerse the viewer right away. There was a lot of money spent and it shows. The character design feels timeless and otherworldly. Unlike many blockbusters, the movie featured colour and wide angle shots, which I found to be a major selling point. 

The film opens with an extended childhood flashback on the magical land of Eternia. We see how He-Man or “Prince Adam” (Nicholas Galitzine) is sent to Earth 15 years prior, spurned by an attack led by the ruthless Skeletor. Now working in human resources, Adam searches for his lost sword. One of the best scenes early on pays tribute to the 'What's Up?' meme, following a pursuit by Beast Man. Eventually, Adam and his now grown childhood friend Teela (Camila Mendes) return home to avenge his family and fulfill his destiny.  

Ultimately, the story beats are familiar. There are some corny jokes, vapid emotional arcs, and extended battles. It drags in the middle. An 80s-inspired soundtrack featuring Brian May (of Queen) booms. The occasional cameo and tease. Themes of staying true to yourself are peppered in. We’ve seen all of this before under a different skin.

It is the cast in Galitzine, Mendes, Idris Elba (Duncan/Man-At-Arms), and Alison Brie (sorceress Evil-Lyn) who carry this movie. Everyone is committed and not just phoning it in. They manage to find a balance between “literal kids cartoon” and “serious, allegedly realistic” portrayals. Many franchises are too goofy or too gritty for their own good, but this struck the balance. There’s definitely quips and boring emotional moments, but they’re played off well.

Skeletor is an iconic villain, and Jared Leto was an odd choice. I was quite surprised that he had a posh English accent, a weak impression of Tim Curry. Neither the character nor actor are British. I wish they had just stuck to the original 'NYAAAAAH!' style. That being said, visually he looks perfect. Skeletor’s dialogue is silly yet menacing. There’s a particularly fun sequence towards the end that’s a highlight. 

When it’s fun, it’s a lot of fun. The fight scenes, CGI, direction, and even character design are much better than a lot of more established franchises. This is an adaptation of a jacked warrior toy commercial and it works. However, I’m still not certain on who the target audience is. Middle-aged men chasing childhood cartoons? Their curious giggling young sons? I was sat next to both of them and they seemed to have a blast. Most of the audience in the theatre did. Perhaps this will capture crowds and we’ll all be seated for Masters of the Universe sequels and spin-offs in due time. And if not, it still has the power. Even if that feeling fizzles out, for two hours, it’s enough.

Written by: Cazzy Lewchuk

The aesthetics of the film are truly unmatched - with Parson’s attention to detail in creating a low-fidelity, analog horror-aesthetic focused on the seemingly infinite extra-dimensional complex of rooms - in a way that is surreal to our objective reality. This, combined with the internet phenomenon and fascination of liminal spaces, creates an unsettling atmosphere throughout the film - making the viewer feel uneasy, but unsure as to why. As quoted in the film, it’s as if one were to describe a dog to someone who has never seen one, and then ask them to draw one based solely on verbal description.  

Taking place in the early 90s, Ejiofor plays Clark - a man suffering from a failing marriage, a failed career and alcoholism. He meets Mary (Reinsve), a therapist frequented by thoughts of her own abusive past at the hands of her mother. Both give remarkable performances that delve well into their trauma as their paths intertwine in both their objective reality, and even more so as it devolves into the alternate reality of the Backrooms. Despite a heavy focus on characterization, the plot feels a bit disconnected and thin - which felt at odds with the almost dreamlike pacing of the movie, which adheres fine given the subject matter. In the end, it feels like perhaps a setup to a sequel or a franchise - a transitionary piece, much like the definition of a liminal space itself.

From a technical perspective, Backrooms is truly a tour de force - between the acting, production design, cinematography and the music (composed by Parsons and Edo Van Breemen). It is incredible at age 20 to have created such a distinct debut piece which stands apart on its own - it feels like a mix of Severance, the SCP universe & J-horror and found-footage, but much too unique to draw direct comparisons to each of the aforementioned. Definitely worth a watch as a horror fan - or for those wanting to experience something a bit different. A deep dive through the YouTube shorts isn’t necessary, but will perhaps give a sense of what you’re about to walk into.

Written by: Timothy Nguyen

What surprised me most was how well the film balances its tonal shifts. There are several genuinely effective jump scares that never come across as cheap or manipulative, alongside moments of unexpected humor that help break the tension without undermining it. The interplay between Irish folklore, trauma, and grief is woven naturally into the protagonist’s psychological unraveling, giving the horror a more emotional core beneath the supernatural elements.

Adam Scott, as struggling author Ohm Bauman, does a great job grounding the film emotionally, selling both the quieter dramatic moments and the escalating dread - playing an unlikeable protagonist you can’t help but root for.

The atmosphere is ultimately where the film excels most. McCarthy has a strong grasp on tension and pacing, consistently keeping the viewer unsettled through ambiguity, restraint, and several sequences that keep you on edge. Unlike some elevated horror films that overextend themselves trying to appear profound, this knows exactly what it wants to be and executes it without forcing unnecessary complexity onto the material. At under two hours, it moves at a solid pace while still giving its themes enough room to breathe.

That said, I do think some trimming would have elevated it further. Certain story beats and lingering moments contribute to a sense of narrative bloat that occasionally slows the momentum. Even so, the film’s atmosphere, performances, and confidence in tone more than make up for those shortcomings. This easily stands as one of the stronger horror films I’ve seen recently and a noticeable step up from McCarthy’s earlier work.

Horror is one of the few genres where the theatrical experience amplifies the film itself—the tension becomes contagious, every moment of silence feels heavier, and hearing an entire audience react in unison makes the scares land far more effectively than they ever could at home. Go see this one in theatres!

Written by: Timothy Nguyen

What really stuck with me are the ideas simmering beneath the surface. There’s an undercurrent about how childhood experiences linger and reshape us, paired with a more societal reflection on Japan’s rapidly aging and declining population. The use of M. C. Escher-like spatial design feels intentional—looping, disorienting, and almost suffocating—mirroring both psychological entrapment and perhaps even Japan’s rigid, repetitive work culture. It’s the kind of film that invites interpretation rather than spelling things out, which I appreciated more the longer I sat with it.

Atmosphere is easily its strongest asset, and where it truly excels. The film commits fully to its mood: quiet, oppressive, and constantly uncanny. There are several genuinely creepy moments that rely more on tension and framing than cheap scares, and the sound design in particular does a lot of heavy lifting in creating that lingering unease.

While I do think the narrative could have been more cohesive—there’s a sense that it’s reaching for something just slightly out of grasp—it never feels empty. Instead, it plays more like an experiential piece than a traditional story, which might not land for everyone but works if you’re willing to meet it halfway.

Despite its narrative structure, I can’t deny how memorable the journey was and how the ending landed. It’s a film that prioritizes feeling over clarity, and even if it doesn’t fully resolve its ideas, it leaves behind a strong impression through its visuals, themes, and atmosphere. Definitely more than just “average” when you take it all in—especially for fans of slow-burn, mood-driven horror.

Written by: Timothy Nguyen

We spoke with Black about her path to filmmaking, the social commentary within The After School Club and the team effort and stylistic choices made, and the development and approach she takes for new projects.

What can you share about your background in the arts and what sparked that passion in you to pursue this field as a career?

Like most filmmakers, my path to this career was not linear. After taking a film class in high school and falling in love with it as a form of expression - I didn’t formally pursue it as a career path until a decade later. The leap of faith from a comfortable 9-5 to freelancing was certainly scary (and still is sometimes) but ultimately fulfilling. This career has introduced me to people and taken me to places I’d never thought I’d see and I learn something about myself from every project.

What training do you have in filmmaking and how have you gained experience and grown your skillset?

I’m a bit of an outlier in that I didn’t go to film school. I had a scholarship to the Capilano [University] film program but ultimately went the safe route out of high school and got a Criminology degree with aspirations of being a lawyer. I met some of my best friends during that program and for that - I am very thankful - but I also realized the legal path was not for me.

Since making the jump into film, I’ve tried to keep my education current and topical to what I do. I’ve taken introductory filmmaking classes, acting and writing classes to improve my skills as a director, and I’ve also started intimacy coordinator classes, as I believe this skillset is an asset to everyone. Thankfully, producing has a lot of hard skills that cross-over with project management, which is what I was doing in a corporate sense prior to filmmaking.

Who and what are you inspired by as a writer and filmmaker?

Stillness. We are constantly bombarded by information in this age of technology. Not only that, but we can be reached at any time. My best ideas or epiphanies come to me when there aren’t a million tabs open in my brain. I’m trying to implement a new rule; I don’t look at my phone or my laptop for half a day each month. We’ll see how this goes… but I truly believe mental space is necessary for creativity.

You studied criminology in university. Did your studies inform or shape your perspective as a filmmaker in any way?

So much! I think having an academic lens is a form of storytelling in a lot of ways. Forming a good essay or argument is similar structurally to a good script - you have your first act - your hypothesis - middle acts that support your point or your character’s journey - and a final act or thesis that ties it all together. This is obviously a major oversimplification but I had to reframe a lot of things for myself as a protective mechanism - to show myself that I didn’t waste time “figuring out” what I wanted to do but simply took the scenic route and ended up in a cool place.

As a female filmmaker, what challenges have you faced and how have you overcome any stigma or lack of opportunities? How proud are you to be taking up space behind the camera?

I think women are made to feel - or told - that we need to show up in a certain way. That we can only take up space if it fits within the guidelines of how we are perceived. In my opinion, men do not experience this as much and often feel they don’t need to be granted the agency or authority to lead. Women in any male-dominated industry often have to work twice as hard to be afforded the same opportunities and pay. I read a statistic that films directed by women dropped to a 7-year low in 2025 and women directors only made up 8% of this year’s top grossing films. Any time I can direct or support a female led team I jump at the chance - creating opportunities and platforming each other in an industry where we are often overlooked is so, so important.

For me, I know on various occasions that I’ve been offered less pay than my male counterparts for the same role. I’ve been told I need to adjust my tone on set as an AD for both being “too nice” or “not firm enough” although I feel my conduct was similar in both scenarios. I think tone is something women have to tread lightly with when men can often just show up and be themselves without constant adjustment or question.

How would you describe your style as a filmmaker? Are there any signature elements you gravitate toward using in each new project?

I love colour and a strong visual language as the backdrop for the stories I tell. Making moodboards is probably one of my favorite exercises - how are the characters in your story coming to life tangibly and what do certain aspects say about who they are? Developing the aesthetic feels like adding colour to the outline of an image - the main components of story and action are there but how are you elevating them with the other elements?

Aside from commercial projects, you’ve also directed music videos for local Vancouver artists. Tell me about this different kind of collaboration and how the process is guided by the song itself?

My journey into filmmaking definitely happened through music. I was very introverted and in my head growing up - my favorite pastime was either reading or sitting in my room listening to music, which both opened the door to imagination and creativity in different ways. There are so many ways you can approach a music video but I like to be song forward. First things first - is there a performance element? Will the artist be in the video? What other criteria needs to be incorporated to let the piece shine? Sitting down as creatives and answering these key questions are really what kicks off the process for me.

You are also a producer. When you’re solely a producer for a podcast series or comedy special, for example, how does your creative process differ as you take on a different role?

It's interesting because I feel most people view producing as a left-brained endeavour when it involves as much creativity as it does logic. You are the one presented with obstacles that can prevent a production from happening - and you have to find a way around them that is sustainable enough to move forward. This can involve looking for resources or information in places you did not expect, or reaching out to people in your network who can help. Outside of the box thinking is the biggest asset as a producer.

You directed the young adult short, The After School Club, written by Alex Love Kink. How did you become collaborators and align on what you wanted to say in theme and story? What questions did you ask that helped build the story?

I’m really proud of how Alex and I began our collaborative relationship and the work we did to ensure approaching these themes was the right choice. I was familiar with Alex’s work as an actor and writer, and had always admired them from afar, but it wasn’t until a Run & Gun event where my sister started chatting to them that we officially met. From there - we had many Zoom talks about the type of art we wanted to make. We made decks for each other and one overlapping theme we wanted to explore was “social commentary on gender perception.” We decided to do this through the lens of political satire with The After School Club.

Were there any young adult films or series you looked toward for tone? How did you approach being behind the camera as your primary focus?

We drew on films like Heathers, Election, Cruel Intentions and the Netflix series The Politician to form the world of The After School Club. I worked on my script breakdowns leading up to pre-production so I could be as available to my HODs as possible when it was crunch time. I cannot emphasize this enough - hire a good 1st AD - Carl Figueiredo really deserves many flowers on this one. The 1st AD’s ability to run the set allows you to focus on the creative aspects and less on the logistical ones. That and a phenomenal producer team and HODs you trust! Filmmaking is truly a team endeavor, I cannot stress this enough!

I loved the lighting choices you made which created a moody and dramatic air to the school and the students’ dialogue and politics. Tell us about the stylistic choices you made.

Thank you! The stylistic choices in this film are a culmination of efforts from all the wonderful creatives on our team. Belen Garcia, our cinematographer, and I sat down first and built our visual language. We wanted the film to feel “painterly” in its aesthetic. This really sets the tone for the drama to unfold and brings us into how the characters are feeling. They’re high school kids but their moods and problems feel very adult and larger-than-life to them.

Our Production Designer, Isobel Baker-Smith understood the assignment from our initial call. She was already coming to me with ideas after our first meeting, which were just so spot on to this high-brow private school world. Last but not least, a moment for THE COSTUMES. When I engaged Jason Pillay I had it in my head that we couldn’t afford school uniforms. Jason pretty much said “oh, this concept needs uniforms” and I don’t know how the hell he pulled off what he did on such a tight budget, but WOW. I had chills at our wardrobe fitting seeing the looks come to life.

Which was your favourite scene to direct?

Definitely the party scene, and I think this is where my directorial skills shine the most in this film. Because of my background in music videos, big BG scenes with a lot going on feel more familiar and less daunting to me. This scene was very much that, with an important piece of intimate dialogue taking place in the middle of a party. Belen and I wanted this moment to feel intimate, without taking away from the chaos surrounding these two characters. With time running out we could only cover this from one angle so we decided to shoot the conversation from behind the couch, with the party as the backdrop.

The film premiered at Whistler Film Festival in December. How was the reception and also getting to participate in a panel with fellow women artists?

It's always surreal watching something you’ve made with an audience. I’m over the moon hearing people react to certain lines or moments. I was really grateful to speak at the screening and also at a ‘Femme Fatale’ panel with other women directors and artists. The best part is people coming up to you after and sharing their thoughts - this type of engagement with the material is something that is rarely felt, especially as an indie artist. A lot of people told me they wished The After School Club was episodic and this was really affirming for me as someone who wants to branch into television directing.

How do you find the right team for a project and keep the energy and motivation at the right level to match your own? How has networking played a role in your career thus far and how have you built connections within the Canadian film and media industry and beyond?

Filmmaking is certainly an industry of big personalities. I was having coffee with our The After School Club producer Jessica To the other day and we were discussing exactly this. “Networking” can feel weird and disingenuous in this industry sometimes - everyone always has an underlying ask and it can easily become very awkward when people aren’t up front about those things. My rule is always - work with people you like spending time with, because you are going to be spending A LOT of time together. Production often involves long hours, lack of sleep, travel and challenging conversations - who are the people you want to surround yourself with and how can you better understand each other in moments where you might not be at your best?

That’s a bit deep to go for a first coffee chat, but I like to inquire about what types of collaborations people are looking for when we meet. Even if we don’t end up working together, this helps me gauge someone’s temperament and what type of team they’d thrive with. The next time someone reaches out saying “hey, I’m looking for someone for this project who is good at this,” I can hopefully draw on these conversations and give them a recommendation. A lot of this business is simply long term relationship building and forming strong teams.

What are you working on next?

Currently, I’m developing an original drama-thriller Pilled and producing three upcoming comedy specials with the wonderful Brent Hodge directing. I’m also working on a short form series with Alex Kink called Hate Cute - it's Tell Me Lies meets One Day about an anonymous gossip blogger that clashes with a fame-hungry scenester as they fall into a toxic situationship.

If you could be any ice cream flavour, which would you be and why?

Chocolate gelato - no dairy, all sugar! I have a huge sweet tooth that I’m always trying to get under control, unsuccessfully. I’m half Italian and also lactose intolerant so naturally, gelato is my go-to. I do enjoy trying wild flavours sometimes but chocolate is classic!

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Re-emerging from prison with the hope of a new start, Ava’s world is textured with the dust and toll of hard labour on her estranged father’s ranch. There is genuine pathos in their uneasy coexistence — Academy Award winner Troy Kotsur, who plays Ava’s deaf father Will, adds weight with his grounded performance to this fractured bond — yet the narrative often shakes off its potential, tethered instead to familiar crime-thriller beats that blunt its emotional edge.

The world around Ava is equally as raw. Maxime Giroux’s direction bathes this ride in colours that smudge into each other — twilight greys, rodeo dust orange, and the sharp blue of trailer-park lights — giving each frame a hint of dread and beauty all at once. Alberta’s landscapes are magnified by striking cinematography, haunting in their vast desolation - echoing the isolation that Ava carries within, a form of visual poetry in itself.

Still, there’s something stubbornly compelling about In Cold Light. It is less about what it shows than what it feels like — a long night, half-seen through rain-spattered glass, where you keep waiting for the sun even as you know it might never come.

Written by: Timothy Nguyen