Night Moves
MCN Videos

The Torontonian Reviews GRAVITY


Gravity is really, really cool.

Read the full article »

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.

Read the full article »

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.

Read the full article »

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.

Read the full article »

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.

Read the full article »

The Torontonian Reviews: The Paperboy

Read the full article »

The Torontonian Reviews: The Silver Linings Playbook

Read the full article »

TIFF12 Review: The Act of Killing

Read the full article »

TIFF12 Review: Ginger & Rosa

Read the full article »

The View From After TIFF

Read the full article »

The Torontonian Reviews: Comrade Kim Goes Flying

Read the full article »

TIFF12 Review: Pieta

Read the full article »

TIFF12 Review: Middle of Nowhere

Read the full article »

TIFF12 Review: Love is All You Need

Read the full article »

TIFF12 Review: To the Wonder

Read the full article »
MCN Videos

DP/30see all »


Cannes: It Follows Maika Monroe & Daniel Zovatto


Sex Tape director Jake Kasdan


Land Ho! directors Aaron Katz, Martha Stephens


Cabin Fever: Patient Zero, Lydia Hearst & Jillian Murray

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

View More Curated Headlines »

Quote Unquotesee all »

“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