Lynn Shelton’s film feels as rehashed as Dan Gilroy’s Nightcrawler, albeit to entirely pleasant results.
Dolan employs an assortment of stylistic elements that, through their extravagance, stop him just short of owning his characters’ emotions.
Writer-director Ruben Östlund masterfully manages the marital tensions that drive the film’s plot forward.
What Leviathan takes most from Job—and also Thomas Hobbes for that matter—is its focus on subjugation.
Xavier Dolan reigns in his often flagrant use of formalism without sacrificing his confidence as a filmmaker.
There were Eisenbergs, Gyllenhaals, and doppelganger-centered film adaptations galore at Toronto.
Jonathan Glazer’s peculiar film is the most original feature at Toronto, and possibly of this year.
The relative quality of generational family abuse, a prominent motif in the play, comes through loud and clear.
Jean-Marc Vallée attempts a gritty approach to the inspired-by-true-events, issue-driven biopic formula.
It fails to ask compelling questions that would merit the relevance of a fictional film about the subject in 2013.
Alfonso Cuarón’s Gravity harkens back to a time in the history of cinema when a film was an “event.”
It’s adept at showing how the slavers’ hateful descriptions of their victims are more than simply demeaning.
Jason Reitman’s film excels in giving the delicate family balance a kind of rewarding poignancy.
The bars in both Closed Curtain and Crimson Gold allude to the cognitive imprisonment of its characters.
Călin Peter Netzer’s Child’s Pose, more than the complicated milieu it depicts, is at odds with itself.
Ben Affleck’s film emerged from Toronto as virtually every pundit’s Best Picture frontrunner, its grand reception topping off a heap of baity ingredients.