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6 New Movies Our Critics Are Talking About This Week
Confirmed
In Short: Zack Snyder's new film 'The Last Photograph' received overwhelmingly negative reviews from critics at the Toronto International Film Festival.
Zack Snyder's latest film, 'The Last Photograph,' premiered at the Toronto International Film Festival (TIFF) on September 14, 2026, and critics were quick to voice their disappointment.
Elizabeth Mollloy of Epicstream described the film as 'aimless, contrived, misogynistic, convoluted, messy, overtly long, abysmal, repetitive, slow, shallow, and downright awful,' though she acknowledged that 'it looks pretty.'
Matt Neglia of Next Best Picture echoed similar sentiments, calling it 'a tedious, frustrating, and grueling experience' and 'easily the worst film I’ve seen at TIFF so far.'
Evan Miller, writing in an X post, noted that the film 'feels like a parody' and criticized its 'gratuitous and sluggishly paced' nature, attributing the issues to Snyder's 'worst tendencies as a filmmaker and shoddy performances.'
Critics also pointed out that the film's premise was compelling but undermined by its execution. Miller added that the film 'features a compelling premise that’s held back by Snyder’s worst tendencies as a filmmaker and shoddy performances.'
The film, produced independently on a smaller budget after Snyder directed two Rebel Moon movies, was met with skepticism and disappointment.
While the film's plot details remain under wraps due to a request from the filmmakers, critics have noted its convoluted nature and the challenges it poses to the audience.
Critics like those at Goldderby praised 'You Can See Everything' for its 'shockingly cinematic' approach and its ability to push documentary techniques to the breaking point.
The Critics Choice Association announced the nominees for the 6th annual Critics Choice Super Awards, highlighting the diversity of films and performances being recognized.
Despite the negative reviews, some critics are looking forward to upcoming films, including those highlighted by NPR.
What this adds
The film's plot details remain undisclosed, adding to the mystery and criticism surrounding it.
What's confirmed
- Zack Snyder's latest film, 'The Last Photograph,' premiered at the Toronto International Film Festival (TIFF) on September 14, 2026, and critics were quick to voice their disappointment.
- The film, produced independently on a smaller budget after Snyder directed two Rebel Moon movies, was met with skepticism and disappointment.
- While the film's plot details remain under wraps due to a request from the filmmakers, critics have noted its convoluted nature and the challenges it poses to the audience.
- Critics like those at Goldderby praised 'You Can See Everything' for its 'shockingly cinematic' approach and its ability to push documentary techniques to the breaking point.
- The Critics Choice Association announced the nominees for the 6th annual Critics Choice Super Awards, highlighting the diversity of films and performances being recognized.
- Despite the negative reviews, some critics are looking forward to upcoming films, including those highlighted by NPR.
What's still developing
- "misguided scripting choices, gratuitous violence and nudity, wooden dialogue, and hollow performances."
- "his war journalist mercenary take on Apocalypse Now, and The Searchers, and the final result was functionally indistinguishable from Sound of Freedom."
- “For many years, Post readers were blessed by Ann’s informed, insightful, warm, accessible, and totally unique voice,” said Washington Post Executive Editor Matt Murray in a statement published by the paper.
- “Reading her work was like talking with a close — if much more knowledgeable — friend.” Popular on Variety Hornaday was a 2008 Pulitzer Prize finalist in criticism, submitting her review of “There Will Be Blood,” among other works, in her finalist package.
- She also authored “Talking Pictures,” a book about how to watch films, and before her death, a book about the filming of “All the President’s Men.” Before Hornaday became the influential critic she is remembered as, she worked as a freelance writer in New York, contributing to publications including The New York Times and Premiere magazine.
- So much of both what works and what doesn’t work here is contained within an element of the film that we as critics have been asked not to reveal.
- "It’s hard to imagine anything more twisty, turn-y, and totally gobsmacking that’s been unleashed on audiences in recent memory. Made virtually in secret... this seamless hybrid of high-concept nonfiction, manufactured scenarios, and 100 percent pure, uncut WTF-itude feels completely singular even when compared to both Fielder and Oppenheim’s respective past works."
- "It’s a documentary that stands shoulder-to-shoulder with the form’s all-time greats."
- "It may not seem like there should be anything more to say about Holmes at this point.... But there were times in You Can See Everything, when she turns her unblinking, too-wide gaze on Fielder, during which I was tempted to think she’s one of the greatest doc subjects of all time. She’s a profoundly uncanny and elusive object of focus, though what really makes the movie so astounding, a metanarrative mille-feuille about all the ways we try to gauge the truth, is how Holmes’s freak squares with Fielder’s, and how Primetime prodigy Lance Oppenheim, with whom Fielder shares a co-director credit, shapes the project into something shockingly cinematic."
- "Whether Elizabeth is or isn’t a liar may be the nominal issue at the heart of You Can See Everything, but that’s just the catalyst for an intricate and increasingly self-reflexive investigation into, among other things, the incomprehensibility of love, the allure of celebrity, and the vexing impossibility of conclusively knowing others. Moreover, it pushes documentary techniques and devices to the breaking point, making it a tangled treatise on its own capacity to deduce the truth."
- “I had never read a character like it,” Cruise said.
- Who else can boast a resume with performances as precise, varied, and original as “Risky Business,” “The Color of Money,” “Born on the Fourth of July,” “Collateral,” “Rain Man,” “Interview With the Vampire,” “Tropic Thunder,” and the aforementioned Kubrick and Anderson masterpieces?