A bit of an interesting failure, Pawel Pawlikowski's The Woman in the Fifth comes tantalizingly close to becoming a great thriller before losing the thread.
Thanks to woefully diminished expectations and a willing desire to offend anyone and everyone in its path, the Adam Sandler comedy That's My Boy still offers more for Sandler fans than his last handful of movies.
We talked to director Randall Cole and producer Vincenzo Natali about their Canadian made found footage genre thriller 388 Arletta Avenue and the freakish ways that real life ended up imitating art.
Thanks to the natural charm and grace of leading lady Greta Gerwig, Lola Versus fares better than a lot of similarly unrelatable NYC hipster fare.
Despite some narrative messiness and a somewhat miscast leading lady, the supporting cast, winning script and tone help make Safety Not Guaranteed rise above the trappings of a standard indie comedy.
Purposefully trippy, artful, and really well done for a low budget debut feature, Beyond the Black Rainbow feels evocative of John Carpenter, Alejandro Jodorowsky, and Daft Punk all at the same time.
Beyond The Black Rainbow is a deeply bizarre science fiction/horror film set in an alternate 1983 in a style of how that future was pictured in the 70s. First time director Panos Cosmatos recreates the aesthetic of late 1970s sci-fi with such mind-boggling attention to detail that it would be easy for an unsuspecting viewer to assume they stumbled onto a lost film from that era. We got a chance to chat with Cosmatos about the conception and production of his remarkable debut, as well as growing up in a house with the guy who made Rambo.
Eduardo Sanchez (The Blair Witch Project) returns with the possession thriller Lovely Molly, a film that's fine enough until it starts feeling the need to explain every detail of what's going on.
We talked with co-creator of The Blair Witch Project, Eduardo Sanchez, about his latest film, the exorcism chiller Lovely Molly, as well as about the film that made him famous and the differences between making low budget productions then and now.
Feeling a bit like an unholy cross between The Royal Tenenbaums and Snatch, first time Canadian filmmaker Jonathan Sobol's A Beginner's Guide to Endings can pummel viewers with its style, and not all the jokes hit, but it establishes the director as one to watch in the future.
Equal parts ingenious, slow, and imperfect, director Nanni Moretti's We Have a Pope takes a genial, fictional look at choosing a new pope without resorting to high satire.
We talked to the director Jonathan Sobol about the Canadian indie A Beginner's Guide to Endings about the film's conception, it's stacked cast (including JK Simmons and Harvey Keitel), and his plans for the future.
If movies were judged purely on their level of forced quirkiness, then Jesus Henry Christ would be in the running for the best of the year. Thankfully, we don’t live in that world and this movie will be quickly forgotten.
Despite a wildly inconsistent tone and gags that don't always work, the core ideas behind TIFF 2011 audience award winner Where Do We Go Now are fresh and new.
If you’re only going to see one movie about vibrators this year, Hysteria should be at the top of your list.
Based on a bizarre true life crime from 1996, director Richard Linklater's coal black comedy and mockumentary Bernie stands as one of the best films of his already stacked career.
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.