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[TIFF Review] Haemoo

Haemoo is an effective moral thriller that immediately mirrors the best work of its co-writer and producer Bong Joon-ho. What starts as slow and straight-forwar...

[TIFF Review] Learning to Drive

Adapted from a New Yorker essay and directed by Isabel Coixet (Elegy), Learning to Drive is often tender and delightful. Traversing territory covered in her pre...

[TIFF Review] Preggoland

Part Todd Solondz, John Waters, Nicole Holofcener, and Bridesmaids, the bitter and cynical Preggoland is a unique comedy. Despite occasionally edging towards ru...

[TIFF Review] The Yes Men Are Revolting

The second collaboration between the artist collective known as The Yes Men and documentarian Laura Nix takes a more personal look behind the collective. The cu...

[TIFF Review] Alive

The trend towards the narrative of the victim in cinema has hit critical mass lately, with all manner of films delving into stories of people who are abused and...

[TIFF Review] Miss Julie

August Strindberg’s 1888 play Miss Julie traces the transference of indignity between two souls who share little more than a pervasive sense of unbelonging. Var...

[TIFF Review] The Good Lie

Directed by Philippe Falardeau (Monsieur Lazhar) with the sense of intimacy required for the material, The Good Lie is a fine film on its own. Its harrowing fir...

[Review] Take Me to the River

While it could have easily become a simple behind the scenes feature for an album of three generations of Memphis soul musicians coming together to recut some h...

[TIFF Review] Still The Water

Naomi Kawase’s Still the Water begins in a beguiling, abstract way that sets the tone for the rest of her film in more ways than one. First, a beautifully lit a...