Caley Wilson’s Luba explores the intersection of single motherhood, addiction, and abuse. While its heart is in the right place, Luba struggles to give equal and equitable attention to all of these issues, earnestly yet questionably prioritizing some over others.
Adam Randall’s thriller I See You is so good, it hurts. Seriously though, because I’m biting my tongue. I want to gush about this fantastic movie so much, but talking about it in detail would be a disservice. The film dishes out so many surprises and they all stick a miraculous landing.
Are you still thirsty for crime movies after soaking in The Irishman? You might want to give Line of Descent a shot. In no way is Line of Descent in the same league as Martin Scorsese’s masterpiece, but it’s a solid pick for people looking for to be entertained by lighter popcorn fare after watching Netflix’s consequential epic.
Just like a seemingly reliable pair of pants, it’s easy to get comfortable with In Fabric before it starts thinning out over time.
She Never Died is not really a sequel to 2015’s He Never Died. Think of it as a story that could exist in that same universe that plays by the same rules.
Fans of Keanu Reeves may want to tune into The Divine Fury. After all, this South Korean horror-thriller feels inspired by John Wick’s fight choreography and Constantine’s freaky gothic imagery.
The biggest strength of Toronto After Dark is, and always has been, the importance given to short films. Shorts are given their own programs, but they also play before features. Due to genre cinema’s specific limitations, shorts are both useful as a way to make a name for oneself and as a storytelling medium. As such, it’s important to look at what is happening in that world. Let’s take a look at the good, the…
Luce is the type of small-scale drama audiences haven’t seen in a while – it’s such a satisfying reunion.
Contracts (DIR. Alex Chung) Critics Jean-Luc Comolli and Paul Narboni once suggested that all films were inherently political because, even when a film lacks an overt political bent, its refusal to question the politics of its world is an acceptance of said politics. This lesson in film theory may sound like it is coming out of nowhere, but it serves a purpose, namely in explaining that Alex Chung’s Contracts—which had its world premiere at Toronto After…
The Furies (DIR. Tony D’Aquino) So, there are these seven women and seven monsters. The women are tasked with staying alive, while the monsters attempt to kill them. This plot could either be attached to a self-aware bit of amazing cinematic trash, or it could take itself too seriously and fail. Tony D’Aquino’s The Furies falls firmly into the latter category.