An interesting choice was made on Jack Bryan's film The Living—one that occurred before the camera rolled. If you're familiar with Fran Kranz's emotionally frac...
The easiest thing I could say about The Overnighters is that director Jesse Moss got lucky. He looked to tell the story about a pastor doing God's will against ...
I'm a little disappointed I was never acquainted with Judith Viorst's Alexander and the Terrible, Horrible, No Good, Very Bad Day because it seems exactly the t...
“Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail. This monthly column focuse...
There's no better title for Hong Khaou's feature debut than the one given: Lilting. It describes the pacing and aesthetic as guilt and grief intertwine with mem...
Icelandic musician Björk has always been somewhat uncategorizable with a career that's uniquely evolved to the beat of her own electronic drum. There was the in...
After all the talk from last year's TIFF centered around the eventually Oscar-winning Best Picture 12 Years a Slave, you can't blame yourself if you forgot ...
I must have been nineteen or twenty when I was first introduced to Nick Cave's music. As a college kid trying to broaden my horizons cinematically with "classic...
Sudanese director Hajooj Kuka's documentary Beats of the Antonov is smartly constructed in a way that eases us into the political message and hope for peace lyi...
This Is Where I Leave You is Franny and Zooey meets The Big Chill. Before one starts throwing accusations of hyperbole, hold on a second and let me explain. Jon...
