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The Torontonian Reviews GRAVITY

GRAVITY

Gravity is really, really cool.

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The Torontonian Reviews UNDER THE SKIN

UTS

Glazer’s decision to light the film with heavy chiaroscuro makes getting lost in the ambiguity sexy and mysterious, and it’s rare that you see the fullness of a character’s face. There is almost always something obscuring the skin or hiding the face of both prey and predator, which makes the shadows and confusion a bewitching result.

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The Torontonian Reviews PRISONERS

prisoners

An unspoiled viewing of the film is so completely engrossing that every little clue or tidbit rattles and teases us. But the best mystery films are often those that withstand repeated viewings, for we watch these movies again and again to revisit how expertly handled each revelation is and how the characters react to them. Prisoners is this kind of mystery movie.

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The Torontonian Reviews PARKLAND

parkland-zapruder

Their stories would likely be far more interesting in a written format, like Vincent Bugliosi’s “Four Days in November,” the book from which the film is adapted.

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The Torontonian Reviews BLUE RUIN

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Blue Ruin comes bearing zero frills attached: the action is streamlined and exciting, the comic relief is perfectly timed, and the lead-foot pace maintains its acceleration before peaking at a bloody climax.

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The Torontonian Reviews: The Paperboy

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The Torontonian Reviews: The Silver Linings Playbook

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TIFF12 Review: The Act of Killing

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TIFF12 Review: Ginger & Rosa

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The View From After TIFF

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The Torontonian Reviews: Comrade Kim Goes Flying

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TIFF12 Review: Pieta

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TIFF12 Review: Middle of Nowhere

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TIFF12 Review: Love is All You Need

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TIFF12 Review: To the Wonder

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Sex Tape director Jake Kasdan

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Land Ho! directors Aaron Katz, Martha Stephens

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Cabin Fever: Patient Zero, Lydia Hearst & Jillian Murray

MCN Festivals
hollywoodreporter.com

“It was one of the strangest and most interesting and puzzling interviews I’ve ever done. I often think my job description is that I’m required to try to capture something of the complexity of the individual I am talking to and the complexity of the world that they were dealing with.”
Errol Morris In Snowflake Town

thestar.com

“I would say smug, shallow, self-satisfied, unself-aware, vain, totally lacking in remorse or guilt or shame. I used to joke that he’s the least Jewish man in America. Because he has no self-loathing, he has no self-hate and he has no self-awareness.”
Errol Morris Paddles The Shallows With Don Rumsfeld

LA Times

“I’m not sure I’m OK with doing it that way. I don’t want to say there’s anything wrong with the current ending, because there isn’t. But it’s something we’re still talking about. We don’t open for three months, and it’s possible you’ll see something different.”
John Wells On August: Osage County‘s Search For Closure spoilers

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“I am just grateful I am still around. I would love to be Steven Soderbergh, but I am lucky to be Joe Swanberg. Actors want to work with me, people want to give me money, and my nightmare scenario remains: Getting in bed with a studio, spending years on a movie, and it turns out horrible, but now I’m rich.”

Actually, by Hollywood standards, you’re right, I said. That is unambitious.

“It is, and yet, if you can go to bed happy at night, doing what you want, isn’t that ambition for a lifetime?”
~ Swanberg On Swanberg By Borelli

“In retrospect, nothing of that kind surprised me about Philip, because his intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect.”
John le Carré on Philip Seymour Hoffman