Our coverage of the seventh annual Toronto After Dark Film Festival continues with looks at the heavily hyped action sequel Universal Soldier: Day of Reckoning and the Canadian thriller In Their Skin.
We continue our coverage of the 2012 Toronto After Dark Film Festival with a look back at the buzzed about opening night film American Mary and we review three upcoming single titled films: Resolution, After, and Wrong.
With the 7th annual Toronto After Dark Film Festival kicking off tonight and showcasing some of the best independent genre films from around the world, we take a look at the opening night film, the Irish monster movie import comedy Grabbers.
Stepping away a bit from elements that made the previous entry in the franchise an entertaining one, the strain really begins to show in Paranormal Activity 4.
Every now and then a movie comes along that is so misconceived on every conceivable level that it becomes ludicrously entertaining in the ways that the filmmakers never intended. Alex Cross is one of those very special disasters.
Fleetingly campy and sleazy at the opening and closing, The Paperboy is ultimately too boring during the middle hour of the film to leave any sort of lasting impression outside of the film's most bizarre moments.
This week we look at the heavily anticipated DVD and Blu-ray releases of Moonrise Kingdom and Prometheus, which lead off a crowded week where we also look at the Adam Sandler comedy That's My Boy, and four partially Canadian productions: the complete series of The Firm, Red Lights, Surviving Progress, and Crooked Arrows
Just Dance 4 is truly the karaoke of dance games, full of guilty pleasures new and old and on-screen lyrics to boot.
Have you seen every horror film made in the past 30 years? You've already seen all of Sinister.
Ingeniously mixing fact and fiction in both form and content, Bart Layton’s The Imposter is easily one of the most gripping films of the year that just happens to be a documentary.
In Ira Sach's first film since 2007, Keep the Lights On he crafts a harrowing and expertly acted queer multiyear romance between a needy filmmaker and a crack addicted lawyer that fits perfectly into the new cinematic trend of depressing love stories.
While In Bruges was tightly wound and focused, Martin McDonagh’s sophomore effort, Seven Psychopaths is more of a spiralling series of darkly comic episodes that only gets thoughtful in the climax and even then it's never really meant to be taken seriously. It’s his crack at creating a violent cult comedy and thankfully he’s got the skills (and the cast) to pull off that trick.
In Argo, the exciting and fast paced third feature for actor Ben Affleck as a director, a silver screen scam job comes to actual theatres with the filmmaker starring as Mendez, whose best plan to rescue the trapped diplomats comes in the form of bringing them together as a fake movie crew under the guise of being location scouts for a big budget sci-fi epic.
With his debut feature Antiviral, writer and director Brandon Cronenberg might be accused of following in his famous father David’s footsteps, and while he finds himself unquestionably influenced by his old man in terms of plot structure, pacing, and leaning towards the use of body horror as a metaphor for something greater, the young filmmaker hits enough original notes of his own to create a slightly off kilter, but very well directed bit of low key creepiness.
Everyone has a story, but not everyone can tell them. But with Stories We Tell Sarah Polley proves to be a masterful storyteller in what’s unquestionably one of the best films of the year.
