You sometimes have to ask yourself why certain films are worthy of a competition slot at a major festival. If a certain set of themes and aesthetics are requir...
Note: The following review contains spoilers for Halloween Ends.
This time last year, while doing press for his rather dreadful Halloween Kills, director Da...
Canada’s weirdest filmmaker, Guy Maddin has crafted a body of work since the 1980s that first comes off as classical-cinema homage but, looked at deeper, is ra...
Renowned horror author and filmmaker Clive Barker has oft remarked about his directorial debut, Hellraiser, that he had virtually no idea what he was doing whi...
It was hard to picture how Rob Zombie’s film adaptation of The Munsters might play. Would it be, say, a profanity-laden '70s period piece where Grandpa Munster...
Another example of a tasteful but passionless festival film, Saim Sadiq’s feature debut Joyland errs on the side of arch family drama when its most interesting...
If one thing of late really sets Hong Sang-soo apart, it’s his unglamorous depiction of the film director. Appropriate to the small-scale of his corpus, these ...
A hopeful and bittersweet plea for a better future, Joao Pedro Rodrigues’ 67-minute oddity Will-o’-the-Wisp covers three periods in the life of Alfredo, a “Pri...
Lena’s Dunham’s new film Catherine Called Birdy represents a difficult case for this critic. The overwhelming feeling of “it’s simply not for me” throughout th...
The Maiden, Graham Foy’s feature film debut after a series of impressive shorts, shows a lot of formal skill but a lack of flair for dramaturgy. The film initi...
