We talk to The Samaritan director David Weaver about how the noir films of his youth crafted his latest Toronto shot project, working with Samuel L. Jackson, and the fine art of crafting a film about a con.
We talked to Canadian character actor Kevin Durand about his latest role as a bank robber in the historical drama Edwin Boyd: Citizen Gangster, what it's like to play a lot of character driven roles, and about being able to adapt to filming in Sault Ste. Marie. Oh, and we asked him a tad about Cosmopolis.
The twisty sci-fi tinged mystery Sound of My Voice raises as many questions as it does answers, and despite a great performance from co-writer Brit Marling as an enigmatic cult leader, viewer enjoyment hinges on the ability to deal with large amounts of ambiguity well.
Director Tony Kaye's Detachment wants nothing more than to rip your guts out and make you feel like shit for 98 minutes… in a good way. It’s a sort of emotional horror movie for educators. It might ruin your day to watch the movie, but at least it feels like the harsh experience was done with a purpose, even if Kaye’s execution is somewhat muddled.
An almost old fashioned, slick, and sometimes icky thriller, the Norwegian import Headhunters doesn't reinvent the wheel, but it's aimed squarely at an appreciative adult audience.
Dork Shelf recently had the chance to speak with Norwegian director Morten Tyldum about his new film Headhunters. He discussed the challenges of making the screen adaptation his own, the logistics of shooting in an outhouse, and his new American sci-fi thriller What Happened To Monday?
We look at and review some of the unsung heroes of the Hot Docs International Documentary Film Festival, the shorts.
Aardman Animation, the creators of Wallace and Gromit and Chicken Run, bring you The Pirates: Band of Misfits, a giddy sugar rush of British animated entertainment.
While certainly impressive, the North American cut of the originally 5 hour long Taiwanese epic Warriors of the Rainbow: Seediq Bale leaves a lot to be desired in the storytelling department. There are, however, plenty of decapitations.
We talk with Aardman animation co-founder and stop motion maven Peter Lord about his latest film The Pirates: Band of Misfits, casting voice actors, the pitfalls of searching for animated perfection, and the changing landscape of his business.
For someone missing in action for over a decade, writer/director Whit Stillman fits into the current indie comedy landscape pretty comfortably with Damsels in Distress.
Unapploagetically corny, but still a bit bland, the Nicholas Sparks adaptation The Lucky One will either delight fans of Zac Efron and Sparks or it will grate their nerves to no end.
Dork Shelf talks to Damsels in Distress director Whit Stillman about how films have changed during his lengthy absence from behind the camera, his casting process, and the rise of fratboy cinema.
Guy Maddin's Keyhole starts as his most accessible film today with an updating of 30s gangster films before gently giving into the filmmaker's unique visual style. And there's absolutely nothing wrong with that.
When exactly did dance movies become such a viable genre and who can we call to put a stop to it?
The Hunter makes great use out of a spectacular performance from Willem Dafoe, but despite a great start the film almost crumbles under the weight of a half baked conclusion.
We sat down with Cabin in the Woods director Drew Goddard and tried not to spoil the movie for any of you in the process.
Lee Hirsch’s new documentary Bully is an undeniably powerful experience that at least wins points for having its heart in the right place even if it doesn’t quite offer as definitive of an examination as the subject deserves.