Seventh Row

Cam is fun but never at the expense of its heroine, a sex worker who just wants to be able to do her job safely.

Posted Sep 7, 2018

Searching (2018)

Among all of the films exclusively composed of images from the screens of computers and other such electronic devices, Searching stands out as the most earnest and the least silly - which doesn't mean it isn't also a lot of fun.

Posted Jul 20, 2018

Bodied (2017)

Bodied is a brilliant deconstruction of liberal hypocrisy and nothing short of a must-see.

Posted Jul 20, 2018

Skate Kitchen (2018)

As the film fully aligns with Camille and respects her emotions, her teenage problems feel like much more than superficial drama.

Posted Jul 20, 2018

Mandy (2018)

Panos Cosmatos' Mandy...featur[es] some of the best Cage-isms in years.

Posted Jul 20, 2018

First Stripes (Premières Armes) (2018)

It's a far cry from the optimistic peacekeeping image taught in Canadian schools and promoted internationally.

Posted Jul 3, 2018

Supa Modo (2018)

Wainaina's film never cuts narrative corners or cheaply pulls on our heartstrings; rather, it lets the spirit of its lead character permeate it and structure it in every way.

Posted Jun 21, 2018

The Tale (2018)

What makes Fox's film so remarkable is its ability to hold these contradictory ideas simultaneously without ever presenting their coexistence as a paradox.

Posted Jun 5, 2018

Under the Silver Lake (2018)

The film's brazen sexism is matched by the shameless unoriginality of the conspiracy theories and clues that take up most of its runtime.

Posted May 24, 2018

Journey's End (2018)

These performances dovetail nicely with Dibb's intention to keep us in the soldiers' headspace.

Posted Apr 18, 2018

The Party (2018)

Potter clearly takes inspiration from theatre, but The Party is specifically cinematic...it works on film because though these characters are three-dimensional, the precision with which Potter points out hypocrisies means we're already in satire.

Posted Mar 1, 2018

The Wound (Inxeba) (2017)

In The Wound, being a man isn't about being a naturally dominant person, but about learning to submit yourself to a patriarchal model that demands heterosexuality.

Posted Jan 31, 2018

The Florida Project (2017)

Jake Pitre

Sean Baker's latest avoids being an exploitative portrayal of poverty by empathetically portraying its characters' daily struggles, and giving time to a variety of perspectives.

Posted Dec 14, 2017

Thelma (2017)

Orla Smith

Thelma succeeds as a character driven story, depicting more complicated, recognisable relationship dynamics.

Posted Dec 14, 2017

Ava (2018)

Orla Smith

The playful, comedic tone in which Mysius directs the gun chase reflects Ava's subjective experience. It stands out as surreal in a film that otherwise takes Ava's experiences at face value.

Posted Oct 13, 2017

Indian Horse (2018)

In attempting to faithfully adapt the novel's plot, the filmmakers abandon one of Indian Horse's most affecting aspects, its storytelling methods.

Posted Oct 5, 2017

The Little Girl Who Was Too Fond of Matches (2017)

Jake Pitre

Thanks to [Simon] Lavoie's confident direction, Matches builds hope for the continued strength and creativity of Québécois horror cinema, refreshed by the raw input of genre outsiders.

Posted Sep 28, 2017

Oh Lucy! (2018)

Atsuko Hirayanagi's directorial debut is the darkly comic story of a middle-aged Japanese woman in crisis.

Posted Sep 27, 2017

Luk'Luk'I (2017)

The one thread that tied the vignettes together is underbaked: the contrast between the privileged few who could participate in the Olympics' feel good Canadian patriotism with those who are systemically excluded is lost.

Posted Sep 21, 2017

Sergio and Sergei (2017)

It's a crowd-pleasing delight.

Posted Sep 18, 2017

Suleiman Mountain (2017)

A roller coaster ride that ends on a moving note of stillness.

Posted Sep 18, 2017

The Other Side of Everything (Druga strana svega) (2017)

It's a vivid and nuanced portrait of a country too often judged from the outside, still divided by what happened, and conscious of the fact that there can be no easy solutions.

Posted Sep 18, 2017

Meditation Park (2017)

With warmth and humour, [Mina] Shum subtly addresses the trauma and isolation of the immigration experience, as well as the challenges faced by second generation immigrants because of their parents' lasting trauma.

Posted Sep 18, 2017

Beast (2018)

A fascinating look at the lies we tell ourselves about ourselves, the parts we play for other people, and the mix of freedom and danger that comes from cutting loose.

Posted Sep 18, 2017

Waru (2017)

These are important, emotionally impactful stories that are too rarely told.

Posted Sep 18, 2017

The Judge (2018)

Director Erika Cohn pragmatically and fairly addresses every side of the issue with inspiring assurance and clarity.

Posted Sep 18, 2017

I Am Not a Witch (2018)

A powerful blend of humour and anger.

Posted Sep 18, 2017

Lean on Pete (2018)

[Lean on Pete] leaves you almost unexpectedly gutted by the deck Charlie's been dealt, but inspired by his resilience.

Posted Sep 18, 2017

The Seen and Unseen (2017)

A beguiling journey between the realms of the physical and the imagined.

Posted Sep 18, 2017

Grace Jones: Bloodlight and Bami (2018)

Rarely has a combination of filmmaker and subject been so thrillingly perfect.

Posted Sep 18, 2017

On Chesil Beach (2018)

[On Chesil Beach] proves [Dominic] Cooke is just as much of a talent to watch on screen as on stage.

Posted Sep 18, 2017

Valley of Shadows (2017)

Mary Angela Rowe

Beautifully shot and scored, this deliberately paced mood piece should not be missed.

Posted Sep 18, 2017

Angels Wear White (2018)

[Vivian] Qu keeps the camera at the height of her two young female protagonists, effectively creating empathy with these young women whose feelings are too easily ignored by the people around them.

Posted Sep 18, 2017

Zama (2018)

Out of the hypnotic rhythm of the film regularly bursts the harsh violence of colonialism.

Posted Sep 18, 2017

Jeannette: The Childhood of Joan of Arc (Jeannette l'enfance de Jeanne d'Arc) (2018)

This singular musical gloriously combines gorgeous beachside settings, idiosyncratic non-actors, beautifully low-key singing, and heavy metal for one of the most joyous experiences the festival has to offer.

Posted Sep 18, 2017

Sweet Country (2018)

Every frame is meticulously composed to reveal power structures.

Posted Sep 18, 2017

The Children Act (2018)

The Children Act is more interested in raising questions about why the characters have crossed ethical lines than in suggesting answers.

Posted Sep 14, 2017

Custody (Jusqu'à la garde) (2018)

We want to know more, but the film never delivers.

Posted Sep 14, 2017

Young & Beautiful (Jeune Et Jolie) (2014)

[Young& Beautiful] works as an effective, if chilling, satire.

Posted Aug 15, 2017

Pioneer (2014)

It's an edge-of-your-seat film, with some stunning footage deep underwaterIt's an edge-of-your-seat film, with some stunning footage deep underwater, but the basic suspense plot frequently strains

Posted Aug 15, 2017

Ping Pong Summer (2014)

In "Ping Pong Summer", director Michael Tully has managed to distill everything awful about eighties movies - the fashion, cheesy dialogue, political incorrectness and afternoon-special endings - minus the heart.

Posted Aug 15, 2017

El lugar del hijo (2013)

The trouble is he doesn't seem to have much ambition or even conviction, which may be fairly common amongst so-called militants, but it makes it difficult to care deeply about his goings-on and whatever protest-of-the-week he's up to.

Posted Aug 15, 2017

Hellion (2014)

Candler gets strong performances from both her young cast and adult players. Unfortunately, this gets overshadowed by the predictable plot and the distractingly shaky camera angles meant to give the film added grit.

Posted Aug 15, 2017

Heaven Adores You (2015)

Despite repeated testimonials stating [Elliot] Smith's genius, [Heaven Adores You] never really explores what made his music resonate and endure, a real missed opportunity.

Posted Aug 15, 2017

Happiness (2013)

The film is an interesting inside look at monastic life and the price of progress, but the subjects often feel too stiff in their scenes together, their dialogue seemingly forced and scripted.

Posted Aug 15, 2017

Lilting (2014)

It's occasionally a bit on the nose, but [Lilting] an often moving exploration of how we connect - or fail to -with other people through language.

Posted Aug 15, 2017

The Trip To Italy (2014)

The characters, by virtue of switching roles, deepen, but the emotional content of [The Trip to Italy] is lighter than its predecessor [The Trip]: it's more fun but it leaves less of a lasting impression.

Posted Aug 15, 2017

Frank (2014)

Michael Fassbender gives a virtuoso physical performance as the affable Frank: we may never see his face, but that doesn't prevent Fassbender from emoting or exhibiting impeccable timing.

Posted Aug 15, 2017

Tim's Vermeer (2014)

[Tim] Jenison's perseverance and singular vision keep the film engaging.

Posted Aug 15, 2017

How to Grow a Band (2012)