Like Someone in Love, the latest film from master filmmaker Abbas Kiarostami, is an undeniably poignant look at the yearning for human connection between two people who seemingly have their lives run by everyone around them.
Paris-Manhattan is a charming romantic comedy and ode to cinephilia that would make Woody Allen proud.
We chat with famed and beloved character actor John C. McGinley, who gets to call the games of Jackie Robinson's first season in Major League Baseball as iconic Brooklyn Dodger announcer Red Barber in the biopic 42. We also talk about working with Academy Award winner Brian Helgeland, playing a sports reporter, and the how his approach here was somewhat similar to his small part in Office Space
We sit down with The Place Beyond the Pines director Derek Cianfrance about how his own experiences honed the film’s takes on father/son relationships and the concept of heroism, his influences, his working relationship with Ryan Gosling, and the different set of challenges between this film and Blue Valentine. We also talk briefly to Dane DeHaan (as much as we can without spoiling the film) about his character and his approach to such an unconventional and sprawling story.
Last week we looked at film from the first half of this year's CineFranco French language film festival (continuing at The Royal in Toronto through Sunday, April 14th). Here is a look at several films from the back half including a great documentary, films with appearances from Marc Andre Grondin and Jean Reno, and closing night feature Tango Libre.
We take a look inside this years TIFF Kids showcase, including several of the films being screened and a look at some of the other great events for the whole family (and especially, you know, the kids) going down at the TIFF Bell Lightbox from April 9th to the 21st.
As a film, Jurassic Park is just as thrilling as ever, having not aged a day, and thankfully an upgrade and re-release in 3-D for its 20th anniversary does the film a considerable amount of justice.
The Sapphires is the kind of project that gives “the feel good movie” a good name. It’s a little sappy and manipulative, but if you can walk out of the theater with anything less than a big dopey grin on your face then there’s probably something wrong with you.
We are extremely saddened to learn of the passing of film critic Roger Ebert earlier today. Our Film and Performing Arts Editor takes some time out of his day to explain just how much Ebert meant to him and the person he has become today. We are forever grateful for the little bit of support he had given to our little Canadian outlet in the past. He will be missed.
The good news about the Evil Dead remake is that it’s a pretty enjoyable bloody romp. The bad news is, it’s nowhere near as exciting, fun or, well-crafted as the original trilogy. The reaction you’ll have to it will really come down to the expectations you bring to the theatre.
A thought provoking, if somewhat purposefully disheartening, look at hunger in America, A Place at the Table works wonders by focusing on the personal lives affected by political decisions.
The narrative is kind of sloppy and it's not very well assembled, but the Canadian drama Hit N' Strum does succeed at being a crowd pleaser that definitely has its heart in the right place at all times.
We take a look at five of the films starting off this year's sixteenth annual CineFranco French language film festival - running this Friday, April 5th through Sunday, April 14th at The Rooyal in Toronto. We look at opening night film Esimésac, the poker set drama Small Blind, the period epic What the Day Owes the Night, the hitman comedy Cassos, and the excellent cop thriller Mains armees
This week at the video store marks the arrival of three European imports - the Swedish gangster saga Easy Money, British cop thriller The Sweeney, and the comedic Irish slasher Stitches - as well as the home video debut of the HBO original movie Hemingway & Gelhorn.
We talk to the first time feature director behind the long awaited and talked about remake of Sam Raimi's Evil Dead about making such a huge leap from microbudget shorts to a big deal studio production, his film’s reliance on practical effects and authenticity rather than CGI and fake sets, the film’s writing process, why the MPAA was actually helpful on a film some say is one of the goriest ever made, and why he’s always his own harshest critic.
