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...
So we finally arrive at the epic baconification of World War II. With enough Tarantino-esque chapter headings that you won’t for a second forget its place in t...
A reverie of 2002 and 2003 in Toronto's sleepy Burlington suburb, I Like Movies initially takes on the appearance of nostalgia with its sight of lined video st...
Featuring onscreen text explaining how the film was inspired by left-behind photos taken by a Danish priest while visiting Iceland in the late 1800s (as oppose...
Positioned as a work of autobiography from first-time director Elegance Bratton, The Inspection is a flawed, if highly compelling promise of a new talented dra...
Rather than a dark comedy, Owen Kline’s directorial debut Funny Pages is perhaps more akin to slowly unfolding tragedy with a number of gut-busting gags. The s...
There’s no better form of getting over a dead parent or spouse than combatting a killer animal. At least that’s the thesis of The Shallows, Crawl, and now Beas...
Often a re-release is granted to some long-cherished classic or cult sensation. In the case of Lodge Kerrigan’s Keane, which played the festival circuit throug...
Netflix’s dreary $200 million franchise hopeful The Gray Man deserves at least one compliment: it begins with relative finesse. Recruited out of prison as a ta...
