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The Torontonian Reviews GRAVITY


Gravity is really, really cool.

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The Torontonian Reviews UNDER THE SKIN


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


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


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


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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Finding Vivian Maier with John Maloof & Charlie Siskel


The Raid 2: Berandal, wr/dir Gareth Evans, star iko Uwais


Richard Shepard on Dom Hemingway & Girls (Part 1 of 2)


Cheap Thrills with Pat Healy

MCN Festivals

“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

“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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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé