We chat with Mary Poppins Returns star Emily Mortimer about what the original Disney classic meant to her and what it was like coming face to face with her childhood while making the movie.
Pauline pulls ahead by winning round 3 of season 2! What did we watch this week?
Death Becomes Her was a 90s oddity remembered mainly for its special effects and hammy performances, if at all. Leave it to Shout! Factory to remind us of this forgotten unofficial tale from the crypt with the release of a brand spanking new Blu-ray.
Wait for the next stage production of Into the Woods because Rob Marshall's adaptation is a disaster.
Both slavishly faithful to and thematically distant from Lois Lowry's almost seminal early 90s young adult bestseller, The Giver stands as proof that not every iconic text can work as a coherent film.
Our Film and Performing Arts Editor gives his picks for what he thinks will win big at tomorrow night's Oscar ceremony. Please note: he is still not an expert.
Although it could use a more accomplished director at the helm, August: Osage County is a gleefully misanthropic, exceptionally acted dark family comedy from the same crazy writer who brought you Killer Joe and Bug.
August: Osage County Gala Director: John Wells Combing a collection of superstars slumming for awards, a TV director, and single location family dinner setting, August: Osage County sounds like easy awards bait worth dreading. That is unless you recognize the writer: Tracy Letts. He’s the man whose twisted imagination spun Bug and Killer Joe and […]
Hot Docs 2012 Preview Day 3 and the hits just keep on coming with looks at China Heavyweight, In the Year of Hip Hop, Brooklyn Castle, The Frog Princes, Finding North, Radioman, Low and Clear, and The Betrayal.
To celebrate TIFF’s ongoing Bangkok Dangerous: The Cinema Of Nicolas Cage series, Alan Jones has resurrected his retrospective of the actor’s work entitled The Nic Cage Project. In this edition, Jones takes a look at Charlie and Donald Kaufman's brilliantly contrived Adaptation – playing tonight at the Lightbox.
Sometimes a movie that deserves a spot on a critic’s ten worst films list ends up being excluded because of a technicality. The beetle-headed Margaret Thatcher biopic The Iron Lady should almost dead to rights be quite high up on the list of 2011's cinematic atrocities, but thanks to limited Oscar qualifying runs in New York and Los Angeles at the end of the year I felt it wrong to talk about the film in too much depth before its proper wide release. It wasn’t embargoed at all, but I felt it was still too early. That time for charity is over. This movie’s an outright trainwreck with a central performance that isn’t half as good as the work that Meryl Streep has shown in the past.
