A coal black comedy from Canadian filmmaking powerhouse Bruce McDonald with an exceptional script and breakout leading performance from Maxwell McCabe-Lokos, The Husband takes a long hard look at what makes a person a monster and the people who get drawn into the monster’s aftermath, creating deep, traumatic personal demons that can create new monsters.
Only one new regular release film for the next two weeks at The Bloor (aside from the still great and sticking around Particle Fever): a lovely, frank, and deeply personal look at the relationship and friendship of two of cinema's greatest in Liv & Ingmar.
We talk to Canadian filmmaker Wiebke von Carolsfeld about her latest feature Stay, starring Aiden Quinn and Taylor Schilling, and about the process of adapting a novel, nailing down two parallel stories across an ocean, getting the right look and casting the perfect charming older man.
While having at least a passing understanding of the TV series is an almost necessary prerequisite to understanding and appreciating the kickstarted Veronica Mars feature film, fans should get exactly what they want out of this condensed outing.
Simultaneously his most gorgeous to look at and most pointedly melancholy film to date, Wes Anderson’s The Grand Budapest Hotel might not be the whimsical auteur’s best film, but certainly one of his funniest and possibly the most valid one stop shop for anyone wanting to talk about his special brand of quirks and neuroses.
The UK production In Fear might be one of the most relentless horror films I have ever sat through. I do not mean that as a compliment. It's so constantly cranked to 11 with absolutely nowhere to go that's it's more boring than terrifying.
We talk to Orange is the New Black star Taylor Schilling about her latest big screen role in the Canadian-Irish drama Stay, opening in Toronto this weekend, and about her character and the fears of having a child and being a parent.
We sit down with actor Jake Gyllenhaal and Canadian director Denis Villeneuve about their second collaboration on the award winning doppelganger thriller Enemy and about the clearly defined roles of the main characters, how the simplest mannerisms can define an entire character, who Gyllenhaal thinks the real protagonist of the film is, why Villeneuve wanted to set and shoot the film in Toronto, and if they will collaborate again.
A long time ago Kristen Bell was on one of the most beloved and tragically cancelled TV shows of all time. This weekend, Veronica Mars is back on the big screen and on On Demand. We got a chance to talk with her about why the time was right to make the movie, how the film's Kickstarter campaign helped them get distribution, what it was like getting the band back together, the conflicted nature of Veronica’s quest this time out, and if she really did try to smuggle a burrito into The Oscars.
Actor Aaron Paul and director Scott Waugh sit down with us to talk about their video game adaptation Need for Speed, and about the film’s old school feel, how Paul gets into character when so many cameras are on him, the most dangerous stunt they attempted together. They also bicker about who gets to keep the nicest car in the movie.
We talk to British director Ben Wheatlely: the man behind Kill List, Sightseers, and this weekend's A Field in England (Oh, and a couple of upcoming Doctor Who episodes) about how he never makes the same film twice, his film’s sense of language, how he directs actors, working with his writer as a co-editor, and his thoughts on his own special kind of genre filmmaking.
We talk with film critic and writer Adam Nayman, who this Friday will introduce a screening of the critically pillared 1995 Paul Verhoeven film Showgirls at Toronto's TIFF Bell Lightbox at an almost sold out screening, and who has a book about the film titled It Doesn't Suck coming out on April 15th. We talk about his personal experiences with the film, how the film and Verhoeven have been misread, questions about the film that he still has, and his ultimate goal for trying to reclaim the film’s reputation.
We talk to actor and writer Maxwell McCabe-Lokos and notable Canadian director Bruce McDonald about their collaboration on the dark comedy The Husband (opening at the TIFF Bell Lightbox this Friday) and about the film’s sense of brevity, their collaboration, what shooting the film digitally brought to the production, avoiding melodrama, trying to find the right tone for the film, and why the film’s most pivotal scene is also the most universally relatable one.
Canadian films Gabrielle and Enemy took home major film awards at last night's Canadian Screen Awards, while Call Me Fitz and Orphan Black ruled the television side of the evening's festivities.
As we dig out from under the pile of Blu-Ray and DVD releases that have come into the office this month, we take a look at Criterion editions of Soderbergh's underrated King of the Hill and Truffaut's Jules and Jim, Blu-rays for Thor: The Dark World, Nebraska, Wadjda, and Blue is the Warmest Color, and a DVD of the found footage thriller Banshee Chapter.
