Jason says: “A quality, old-fashioned costume drama, well-done enough that there’s really not a whole lot to say about it. Emily Blunt is fairly impressive in the title role, humanizing a figure often thought of as little but stern and
Michael says: “It’s nearly impossible to describe the absurdist films of Roy Andersson, whose SONGS FROM THE SECOND FLOOR was a minor Chlotrudis hit several years ago. Andersson’s films examine the human condition, with sly, deadpan humor, and static shots
Thom says: “This companion piece to PARIS JE T’AIME isn’t quite as good as the Paris version. The former concentrated on all different districts of the ‘City of Light,’ each with its own yarn, and was quite a bit more
Bruce says: “YODUK STORIES is one of those films that makes perfect sense during the screening but disintegrates considerably the further one gets from the viewing. The concept is unusual. Andrzej Fidyk traveled to North Korea to make a short
Diane says: “The radio show ‘The Goldbergs’ began in 1930 and morphed into a TV show in the ’50s. This docu is about the show’s creator and star, Gertrude Berg, who played a warm and somewhat ditsy matriarch with a
Thom says: “JUNO meets SHORTBUS as one reviewer states. Well, not really & it’s never wise to compare an inferior film to another. My opinion is that this film didn’t belong at TIFF & got a shot due to its
Jason says: “WORLD’S GREATEST DAD is deliciously black comedy, the sort that revels not just in how horrible the characters can be, but also regularly raises that bar by going for absurdity as well. That’s not terribly uncommon; lots of
Diane says: “I have a problem with Holocaust movies! I can’t help but consider them as entertainment and not as windows into the horror of what happened. When SCHINDLER’S LIST came out, my reaction was ‘movies shouldn’t be made about
Jason says: “To a certain extent, I don’t care who the audience for WOMEN IN TROUBLE is – it made me laugh out loud and then did a little more than amuse me, and that makes it good in my
Bruce says: “Sonia (Félicité Wouassi) is having many difficulties – with her gambling husband George (Mamadou Dioumé), her pregnant daughter Suze (Elisabeth Oppong), her seemingly suicidal pre-adolescent son Leo (Charles-Étienne N’Diaye) and her son Victor (Ralph Amoussou) who is running