The Permanent Rain Press Interview with Dayton Paradis | Descendants: Wicked Wonderland. (Watch in HD)
Dayton Paradis discusses his role as Squeaky Smee in Descendants: Wicked Wonderland, including the Smee twins' relationship with Hazel Hook and the 'villain kids,' filming in Wonderland, memories from set, and his pre-existing friendship with on-screen brother Ryan McEwen. He also chats about his extensive dance background and competing with acclaimed Canadian dance team, Brotherhood.
The Permanent Rain Press Interview with Zavien Garrett | Descendants: Wicked Wonderland. (Watch in HD)
Zavien Garrett discusses his role as Felix Facilier in Descendants: Wicked Wonderland, including learning card tricks and their significance to the character, initial audition as a dancer, the villain kids and hero kids working together, and filming on a giant chess board. He also chats about the intricate costume details, his dance experience, and original rap/hip hop music.
The Permanent Rain Press Interview with Ryan McEwen | Descendants: Wicked Wonderland. (Watch in HD)
Ryan McEwen discusses his role as Squirmy Smee in Descendants: Wicked Wonderland, including mirroring a viewer's perspective into Wonderland, comedic relief, trust and play with his on-screen twin Dayton Paradis, and creating memorable group numbers. He also chats about the cast's close bond, being inspired by Kenny Ortega and his work on Julie and the Phantoms, and the global support for his dance crew, Brotherhood.
The Permanent Rain Press Interview with Brendon Tremblay | Descendants: Wicked Wonderland. (Watch in HD)
Brendon Tremblay discusses his role as Max Hatter in Descendants: Wicked Wonderland, including his relationship with his father, Maddox, evolving thoughts on Red and Chloe, bringing the musical numbers to life, and the emotional arc of his character. He also chats about joining the beloved franchise, creating Max's style, starring in the series Gang de hockey, and his Chinese-Canadian identity.
The Permanent Rain Press at the 2026 Leo Awards. (Watch in HD)
We are back at the Leo Awards! Watch our red carpet coverage from the 2026 awards in Vancouver, featuring Christian Convery, Mayumi Yoshida, Nat Boltt, Ella Lucas, Orlando Lucas, Tzi Ma, Tamara Black, and more!
The Permanent Rain Press Interview with Danielle Chand | Elle Season 1. (Watch in HD)
Danielle Chand discusses her role as Shannon Walker in season 1 of Prime Video's Elle, including her emotional arc, teenage romance, filming key scenes, and contrasting friendships with Kimberly and Elle. She also chats about growing in her debut TV role, joining the Legally Blonde franchise, her communications and acting studies, and passion for the arts since childhood.
'The Death of Robin Hood' Movie Review: Cinematography and captivating performances uplift a grim tale (2026)
This isn’t your typical Robin Hood story, as the title may suggest. It’s not the swashbuckling Kevin Costner version, or even the grittier Russell Crowe one. It’s definitely not the Disney version with the animated fox. The Death of Robin Hood is incredibly bleak, dramatic, and uncomfortable. This is obviously a subversive, unique take on the world’s most legendary folk hero. An interesting direction, featuring an old, grey, bearded Robin Hood (Hugh Jackman, with a powerful performance) facing cynicism and remorse.
The tagline is “he was no hero,” the premise clearly spelling out that Robin Hood was a ruthless, violent, plundering outlaw. He didn’t steal from the rich to give to the poor, but attacked anyone and everyone for his own gratification. The old stories mythologized his actions. Robin is now a bitter, lonely old man torn between isolation and redemption.Â
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 SkarsgĂĄrd) continue their attacks. It’s a bit of a turn-off and not what I expected.Â
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.Â
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.Â
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.Â
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.Â
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:Â Cazzy Lewchuk
The Death of Robin Hood is in theatres on June 19.
'The Super Mario Galaxy Movie' Review: An immersive and earnest addition to the powerhouse franchise (2026)
The 2023 release of The Super Mario Bros. Movie was a massive hit. I saw it in theatres and was so enchanted by the world and Nintendo's iconic characters. Three years later and it’s back with a sequel in The Super Mario Galaxy Movie, that’s more colourful, fun, and exciting than ever.Â
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.Â
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.Â
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.Â
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.Â
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:Â Cazzy Lewchuk
The Super Mario Galaxy Movie (Universal Pictures) is now available on digital platforms, and on 4K Ultra HD and Blu-ray.
'Leviticus' Movie Review: The coming-of-age horror that allows people to be seen in an increasingly hostile world (2026)
Leviticus is Adrian Chiarella’s first feature-length film, honing in as a coming-of-age romantic supernatural horror with a queer perspective - an acknowledgement of the reality that so many people face on a daily basis. Much akin to the referenced Biblical text (the Book of Leviticus), both the film and the book dissect ideas and themes of uncleanliness and cleansing of one’s sins.
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.Â
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.Â
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.
The Permanent Rain Press Interview with Juliette Hawk | Every Year After. (Watch in HD)
Juliette Hawk discusses her role as young Persephone (Percy) Fraser in season 1 of Prime Video's Every Year After, including finding the character at her age, her connections with Sam and Sue Florek, working with the cast and crew, and filming emotional scenes. She also chats about her creative family and love for the arts, posting music online, and upcoming lead role in Lumi.
The Permanent Rain Press Interview with Blue Clarke | Every Year After. (Watch in HD)
Blue Clarke discusses his role as young Sam Florek in season 1 of Prime Video's Every Year After, including finding and relating to the character at his age, his connection to Percy, brotherly dynamics with Charlie, and filming the series in Canada. He also chats about the dedicated fans, his favourite movies, and love of music.
'Masters of the Universe' Movie Review: A goofy, fun and ambitious adventure for He-Man and company (2026)
As a young millennial, He-Man is from before my time. I mostly know him from the famed 'What’s Going On?' meme video. His arch enemy is a shrieking skeleton. He’s got a talking tiger, who is in the movie, but much less than I expected. Him and his friends have silly costumes. I wasn’t sure what to expect, but ultimately, Masters of the Universe was harmless, predictable fun.
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.Â
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. Â
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.Â
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.
'Backrooms' Movie Review: An uneasy and technical tour de force (2026)
Kane Parson’s feature directorial debut, Backrooms, is an impressive triumph in what feels like a recent horror renaissance. Built upon the fundamentals of Parson’s own web series of the same name and heavily inspired by 'creepypasta' lore, Backrooms is complimented by thrilling performances from Oscar-nominated Chiwetel Ejiofor (12 Years a Slave) and Renate Reinsve (Sentimental Value).
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. Â
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:Â Timothy Nguyen
Backrooms (A24 in the United States and Elevation Pictures in Canada) is in theatres on May 29.
