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...
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...
