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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

blueruin_04

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

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

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Cheap Thrills with Pat Healy

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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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

A Haunted House 2 is not a movie. It is a nervous breakdown. Directed by Michael Tiddes but largely the handiwork of star, producer, and co-writer Marlon Wayans, the film is being billed as yet another Wayans-ized spoof of the horror movie genre, à la the first Haunted House movie and the wildly successful Scary Movie series. (Keenen Ivory Wayans and his brothers were responsible for the first two Scary Movie films; they have since left that franchise, which may explain why a new one was needed.) And there are some familiar digs at recent horror flicks: This time, the creepy doll and the closet from The Conjuring, the family-murdering demon from Sinister, and the dybbuk box from The Possession all make appearances. But this new film is mostly an excuse for star Marlon Wayans to have extended freak-outs in response to the horrors visited upon him—shrieking, screaming, crying, cowering, and occasionally hate-fucking for minutes on end. Yes, you read that last bit right. A Haunted House 2 puts the satyriasis back in satire.”
Ebiri On A Haunted House 2