By: Jolie Featherstone Director Rian Johnson (Looper, Star Wars: Episode XIII – The Last Jedi) makes a triumphant return to his whodunnit-loving form with Knives Out. Fourteen years after his much-loved debut feature, Brick, a passionately-told film noir set in a modern-day Southern California high school, Johnson’s Knives Out charmed audiences with one of the most talked-about films at this year’s Toronto International Film Festival.
Through Black Spruce, most of the time, is on the right track. Unfortunately, its disappointing streaks are during the final stretch of the film.
By: Jessica Goddard A movie unafraid to leave your head spinning from the farfetched quantity of twists, A Simple Favor is fun, well-paced, and stylish. Directed by Paul Feig, it balances elements of a mystery/thriller/dramedy, borrowing from too-many-to-count eerie pop culture phenomena before it. And yet, successfully, it pulls off homage (as opposed to shameless rip-off) time and time again, in a way that feels fresh and full of energy.
Featured in the festival’s Wavelengths selection, Andrea Bussmann’s Fausto shows audiences why this particular programme is so important for a well-rounded TIFF experience.
By: Graeme Howard Lou Simon’s 3: An Eye for an Eye is a revenge thriller with a healthy amount of twists to subvert viewer expectations. Unfortunately, the stiff and unconvincing performances lead to an experience that will be predictable, drab, and confusing for most.
7 Splinters in Time advances from a well-timed reveal. It’s a wordy spiel of exposition delivered by the dependable and always admirable character actor Austin Pendleton, but it’s a scene that justifies the film’s frenetic style and narrative; turning incomprehensible details into awesome creativity.
By: Nick van Dinther It’s so difficult to pull off a horror film that’s truly frightening. Many movies rely on jump scares or violent deaths, but the results rarely stick with you after the fact. It’s a genre that’s incredibly divisive between both fans and critics, and fails more often than it succeeds for both. A filmmaker needs to bring something genuinely special and memorable to the table to appeal to all. Writer/director Ari Aster…
The tagline for The Limehouse Golem boasts that its fictional Victorian London serial killer precedes the infamous Jack the Ripper. We have yet to see a compelling cinematic take on the Ripper murders (including the Hughes Brothers’ tragically underwhelming Johnny Depp vehicle From Hell). Though it merely draws inspiration from the Ripper, The Limehouse Golem suggests that we may have to wait a bit longer.
What happens when Andrey Zvyagintsev makes a political film with a female lead? A disappointing monstrosity that could’ve been a masterpiece with forty-percent discarded.
By: Nick Ferwerda Set in the snowy mountains of Wyoming on an indian reservation in the town of Wind River, Taylor Sheridan’s dark and thrilling crime drama – also titled Wind River – follows Cory Lambert (Jeremy Renner), a wildlife protection officer, a local gametracker, and a man who had two children with someone from the reservation. They split soon after their eldest daughter was killed in a murder that would, most likely, never be solved.