The global lack of knowledge that’s resulted from Turkey’s denial campaign is more amnesia than ignorance.
Atom Egoyan is only interested in using the Holocaust as fodder for carrot-dangling plot contrivances.
It has the plot of an intensely lurid thriller, but Atom Egoyan can’t bring himself to face that and actively tend to the story.
Atom Egoyan’s hypocritical prestige-movie skittishness is more offensive than ordinary sensationalism.
There were Eisenbergs, Gyllenhaals, and doppelganger-centered film adaptations galore at Toronto.
It fails to ask compelling questions that would merit the relevance of a fictional film about the subject in 2013.
It’s knitted together by its sense of place and lived-in performances, yet unraveled by anemic false melodrama and overbearing music.
A Trip to the Moon and The Kid with a Bike showed that all films are new to anyone seeing them for the first time.
Slant caught up with Egoyan to discuss what he thinks of Sarah Polley stepping behind the camera and the most difficult moment of his filmmaking career.