Despite a cast that boasts the talents of Toni Collette (The Sixth Sense, Little Miss Sunshine), Harvey Keitel (The Grand Budapest Hotel, Bugsy, Pulp Fiction), Tom Hughes (Cemetery Junction), and Rossy de Palma (Julieta, Kika), Madame is a flat and charmless romantic comedy.


Isle of Dogs

By: Trevor Chartrand Director Wes Anderson is at it again with another quirky stop-motion animated feature, his second foray into the genre since 2009’s The Fantastic Mr. Fox.  In Isle of Dogs, Anderson’s gone above and beyond to create a clever, stylized, and memorable motion picture.



Henry Winkler has a full resume, but he’ll always be known as The Fonz.  His son, television director Max Winkler, will surely continue having a fruitful career as a filmmaker after releasing his sophomore effort Flower, an audacious flick for which he’ll be remembered for.


Catwalk: Tales from the Catshow Circuit

Last year’s Kedi, one of the best films of the year, showed us just how much potential there is in cat documentaries.  This year, CBC Docs attempted to follow that nascent tradition in Canada with Catwalk: Tales from the Catshow Circuit, a study of people and their pets who participate in such performances.  And, yes, there’s a healthy dose of cute cat action.

Festival Coverage

Canadian Film Fest ’18: A Swingers Weekend

Certain topics pertaining to sex and intimacy aren’t really taboo anymore.  We’ve had an influx of orgy comedies (A Good Old Fashioned Orgy, How to Plan an Orgy in a Small Town), and filmmakers have also captured stripped-down dating culture in the current digital age (Jackie Boy, as well as with glossier mainstream movies).  Because of these advancements in storytelling, Jon E. Cohen’s underwhelming feature film debut A Swingers Weekend feels a few years too late.


The Leisure Seeker

By: Jessica Goddard Paolo Virzì’s geriatric road trip flick wastes the legendary talents of Donald Sutherland and Helen Mirren on some of the most unfortunate forced sentimentality and rushed melodrama I’ve seen in years.  Despite a promising premise, this adaption of Michael Zadoorian’s novel of the same name is more often cringeworthy than sincere.



The foxtrot, as you may know, is a dance – the movie reminds us of that.  The first position is the same as the last, which the film (of the same name) uses as a metaphorical device to encompass the fate of the characters we see on screen.