For some, the film’s stylistic choices will be insurmountable. But stick with it, and KAJILLIONAIRE has a big, nurturing heart; one that invites us to laugh about the messiness of families.
RELIC masterfully anticipates the fears and ideas of the audience, leading to a powerful conclusion about what we owe our family despite their mean, monstrous, or horrifying aspects.
HONEYMOOD stands apart from other entries in the genre with its dark edge, its sense of the absurd and fantastic, and empathy for the film’s flawed, imperfect characters. Simon Bowie reviews.
Peter Mackie Burns has succeeded in getting strong performances from all his actors in RIALTO. Andrew Nickolds reviews.
The concept of ANOTHER ROUND reads like a bawdy comedy, but the cocktail Vinterberg and Mikkelsen shake up is altogether sharper and more complex than that. Jim Ross reviews at TIFF 2020.
Politics is a backdrop and metaphor for the resurfacing of painful memories in WILDFIRE, a film that never deviates from the characters at the core of this drama. Jim Ross reviews at TIFF 2020.
Michel Franco loses some of the grander points of NEW ORDER in a nihilistic spray of blood and green paint. Jim Ross reviews from TIFF 2020.
CONCRETE COWBOY puts a unique gloss on what could have been a tired narrative. Jim Ross reviews from TIFF 2020.
Its humanity and truth crystallise the universality that radiates through MONSOON. Steph Brown reviews.
With an impressive cast and a gorgeously bleak southern gothic aesthetic, THE DEVIL ALL THE TIME’s time-hopping, plot-crossing saga is thrilling and gruesome in equal measure, and only slightly hampered by a tendency to meander.