This week on End Credits, there’s a chill in the air. No, it’s not the weather, because it’s finally fairly warm outside, but in the movie theatre, that’s not just the air conditioning you’re feeling. For the review we will finally check out the Backrooms, which is currently making bank, and we will also go back to 1976, and high school, for a lesson in kindness. 

This Wednesday, June 10, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:

6 For ’76: Carrie. Returning to our series about the movies from 1976 we arrive at what might be the scariest. Brian De Palma, still looking for his first hit, took a gamble on the first novel from a new author named Stephen King about a mousy high school student who is pranked one time too many by her classmates. We will talk about the enduring appeal of Carrie, De Palma’s trademark style, and the repeated efforts to try and remake perfection.

REVIEW: Backrooms (2006). This may be the story of the year: A 20-year-old first-time filmmaker, Kane Parsons, turned the YouTube series he made in high school into a movie starring two Oscar nominees that’s presently outstripping a new Star Wars movie at the box office. Not too shabby, so let’s talk about the movie itself, which finds a strung out man played by Chiwetel Ejiofor discovering a vast, magical enclosed space beyond the wall of his furniture store. Why does Backrooms work for audiences, and does it work for these reviewers?

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of Elevation Pictures/A24. 

This week on End Credits, we’ve got pitch! Our movie this week combines a love and appreciation for both classical music and classical crime in the new indie thrill Tuner, which you can now see in a theatre near you. And for something completely different, we will take the opportunity to mark some our favourite war movies as a new one also enters theatres. 

This Wednesday, June 3, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:

War Movies Are Hell. This week marks the 82nd anniversary of D-Day, and not coincidentally there’s a new movie in theatres that’s about the weatherman who provided the forecast for the invasion (it’s called Pressure by the way). So in that spirit, we will talk about some our favourite war movies, but with a twist: each of our picks have to be from a different war! From the trenches of the Great War to the deserts of Afghanistan, we will prove again that war movies are… you know.

REVIEW: Tuner (2026). It’s a story that’s been told several times: Down on his luck guy with a special skill finds success in a life of small time crime until things go horribly wrong and he wants out! In Tuner, that’s Niki who’s extreme hearing sensitivity makes him an excellent piano tuner… and an excellent safe cracker. From Academy Award winning documentarian Daniel Roher (though it’s not a documentary), Tuner is being sold as a crime movie with a heart with a talented new leading man at it’s centre, but is this new take on an old story pitch perfect, or does it hit a sour note?

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of Elevation Pictures/Black Bear. 

This week on End Credits, for the first time in a while, the Force is with us! If you haven’t guessed already, we will be reviewing the 13th entry in the sci-fi adventure franchise, Star Wars: The Mandalorian and Grogu, which you can now see in a theatre near you. And if we’re watching a new Star Wars movie, then what better time is there to hand out The Star Wars Awards?!

This Wednesday, May 27, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:

The Star Wars Awards. How can we celebrate the return of Star Wars to theatres everywhere? we could do a ranking of all 12 previous movies in the franchise, but that seems kind of simple, and we have to recognize that Star Wars isn’t just a movie series, it’s a cultural touchstone. So to mark this week’s new release we will hand out the first annual (?) Star Wars Awards in five different categories, from Best Lightsaber Fight to Star Wars MVP!

REVIEW: Star Wars: The Mandalorian And Grogu (2026). It’s been seven years since we last saw a new Star Wars movie in theatres, and this one is about a masked bounty hunter and his little buddy. Based on the Disney+ series, The Mandalorian and Grogu follows the continuing adventures of Din Djarin and his sidekick sometimes known as “Baby Yoda” as they chase warlords, gangsters and sometimes fellow bounty hunters across a galaxy far, far away, but does this first big screen outing for the franchise re-establish Star Wars former box office and creative glory?

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of Lucasfilm/Disney. 

This week on End Credits we’re going to work it. No one would accuse this podcast of being fashionable, but with this episode we head work our way back to style in addition to our usual substance by reviewing The Devil Wears Prada 2, which is now in a theatre near you. And since we’re going back, let us also go back in time to the Summer of 2006 for another draft!

This Wednesday, May 20, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:

Summer Movies of 2006 Draft. Twenty years ago from this summer, we watched as the Pirates of the Caribbean fought for a dead man’s chest. Tom Hanks raced around Paris search for the Da Vinci Code. The X-Men took their last stand (not really). Superman returned, and so did the clerks. The house was a monster, the ex-girlfriend was super and the Devil wore Prada. These are among the movies we might draft as we go back to the Summer of 2006!

REVIEW: The Devil Wear Prada 2 (2026). Based loosely on legendary (infamous) Vogue editor Anna Wintour, the original The Devil Wears Prada followed an aspiring journalist played by Anne Hathaway going to work for a demanding magazine editor played by Meryl Streep. Now, 20 years later, Hathaway and Streep, plus co-stars Stanley Tucci and Emily Blunt, all return for an encore as Streep’s Miranda needs Hathaway’s Andy to rescue her reputation, and her magazine, in the midst of PR crisis, but is The Devil still as delicious with the second bite?

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of 20th Century Studios/Disney. 

This week on End Credits, we get international. The review today comes from Spain, with a universal take of family dynamics that just so happens to be in Spanish in 53 Sundays, which you can now stream on Netflix. Along similar lines, this entire show will be about a language other than English, at least so far as the movies are concerned! 

This Wednesday, May 13, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:

Películas en un idioma distinto al inglés. This roughly translates into “films in a non-English language”, which might also be called “international movies” or “foreign language films” depending on who you’re talking to. Since this week’s selection is in Spanish, we will take the opportunity to talk about other non-English films we enjoy, from serious dramas to silly genre fare, we will travel the world cinema in around 30 minutes before the main review…

REVIEW: 53 Sundays (2026). The new Spanish film 53 domingos plays out a conversation that probably happens in many families: What do we do about an aging parent that can’t fully be trusted to live on their own any more? Writer and director Cesc Gay stages a chamber dramedy about three siblings trying to answer that question, but really they’re more interested in twisting the knife and sticking one of them with the exclusive responsibility for their father. Was 53 Sundays the darkly cynical balm we needed for this past Mother’s Day weekend?

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of Netflix. 

This week on End Credits we’re listening. For the movie review today, we will get into a movie you don’t just have to watch because it’s also a listening experience. Yes, we are going to talk about the new horror movie Undertone, and speaking of not-so-easy listening, we will continue on with our “6 For ’76” series with a story about love and music!

This Wednesday, May 6, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:

6 For ’76: A Star Is Born. Not for the first time, and definitely not for the last time, director Frank Pierson remade the 1937 movie A Star Is Born in 1976. This one shook up the formula, moving the action from the movie industry to the music industry and telling the story of the ill-fated romance between a falling star played by Kris Kristofferson and a rising star played by Barbara Streisand. Our “6 For ’76” series rolls on with the second biggest movie of that year!

REVIEW: Undertone (2026). Called “The scariest movie you will ever hear,” Undertone has a lot to live up to. Director Ian Tuason, inspired by his own experiences caring for his dying parents, crafted a sonic experience of a movie about a podcaster caring for her comatose mother while slowly coming to the realization that her childhood home might be haunted. Or maybe it’s in her mind. This low-budget horror is the latest in a line of successful Canadian movies that have come out so far in 2026 and this week we take our chance to talk about it.

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of A24/VVS Films.

This week on End Credits, things get real, which is to say that we’re going to put the best face on reality. The prime example this week is the new music bio-pic MIchael, which is about the life of Michael Jackson and getting darts and laurels depending on what side you’re on. There’s no doubt that Michael is going to be a big hit, but good news, we are entering a season of big hits!

This Wednesday, April 22, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:

Summer Movie Preview. It’s finally here! Summer Movie Season!! The next few months are reserved for some of the biggest, boldest, blow-up-iest movies of the year from superheros to super troopers, and from ancient Greece to the Met Gala. As usual, we will talk about the summer movies worth waiting for, but we will frame it through a new game. What movies are worth investing in, from the sure-to-be blockbusters to the dark horses with potential.

REVIEW: Michael (2026). After years of trying, a bio-pic about Michael Jackson is now in theatres with all the requisite controversy that conjures up. Antoine Fuqua’s film looks at the early years of Jackson’s life, from growing up under his authoritarian father Joseph in the Jackson 5, to his his breakout solo albums, but then stops the story right before certain allegations emerge. Produced by the Jackson family themselves, and starring Michael Jackson’s own nephew, there’s reason to wonder if Michael is just all about the music (revenue)?

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of Lionsgate/Universal. 

What does it mean to review movies today? How do professional critics stand apart from the pack between Rotten Tomatoes and Letterboxd? Does a film critic even matter when measured against social media publicity and influencers? In this new monthly side series, we will talk to critics, vloggers or podcasters about the state of modern film criticism, why they do it, and why it still matters indeed!

To kick off this series, we talk to an old fashioned newspaper film critic. Barry Hertz is the deputy arts editor and film editor of The Globe & Mail, which is just a fancy way of saying his that paper’s senior film writer. He’s also the author of the definitive book about the Fast & Furious franchise, Welcome to the Family: The Explosive Story Behind Fast & Furious, the Blockbusters that Supercharged the World. Today he joins us fresh off spending the week at CinemaCon in Las Vegas to talk about the fine art of reviewing, what he looks for in movies, and why he’s not ashamed of his unequivocal support for Nirvanna The Band The Show The Movie!

End Credits Conversations returns next month on the fourth Saturday. End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of The Associated Press. 

This week on End Credits, we grow up. The movie this week is another coming of age story about a young person finding themselves but the twist is that it’s a Canadian movie about a Canadian in Canada. We will review Mile End Kicks, which you can now (and should) see in theatres everywhere, and we will also talk about *that* festival in France! 

This Wednesday, April 22, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:

Yes We Cannes. In a couple of weeks, Hollywood heads to the south of France for the 79th annual Cannes Film Festival. What makes Cannes different? Well, it’s exclusively for people in the industry, and the press, so you can’t just line up and buy rush tickets, but in recent years it’s been more famous for how long people stand and clap at the end, or whether or not they booed. Instead, we’ll talk about some of our favourite Cannes movie premieres.

REVIEW: Mile End Kicks (2026). The year is 2011, and the place is Montreal. Aspiring Toronto Burlington music critic Grace Pine is here to find love (or at least sex) and write a book about Alanis Morrisette’s Jagged Little Pill, but sometimes important life lessons and the lead singer of an up and coming band have other ideas. Chandler Levack’s follow-up to I Like Movies is another coming of age slice from her own life, but can Levack capture that same magic, not to mention a sense of nostalgic early 21st century Canadiana, again?

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of Elevation Pictures. 

This week on End Credits, things are going to get dangerous! For the movie this week, we get hardcore with ballerinas that kill as five young women have to take out a bar full of bad guys in Pretty Lethal on Amazon Prime. We will also mark Earth Day (or is it month now?) by talking about some of our favourite environmentally-themed movie… except for the obvious ones.

This Wednesday, April 15, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:

Green Movies. Earth Day is next Wednesday, and we are going to get you in the mood to save the Earth with some movies that focus on environmental themes. It would be easy to talk about flicks like The Day After Tomorrow, FernGully: The Last Rainforest, or the Avatar trilogy, but we will dig deep to find some real bangers including monster movies, action classics, hidden gems from the 70s, and political thrillers.

REVIEW: Pretty Lethal (2026). Is there anyone tougher than a ballerina? That’s the question in Pretty Lethal, which follows five ballerinas lost in Hungary who end up at a mob bar to wait for a ride only to end up having to fight their way out. From David Leitch, one of the creators of John Wick, and his production company 87North, which made Nobody, The Fall Guy and Love Hurts, can five skilled dancers apply their craft to beating a bar full of Euro-trash baddies and crime boss Uma Thurman (?!). Cue the “Swan Lake” suite!

End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Photo courtesy of Amazon/MGM.