I was not originally planning to see Joker during the festival, but when it won the Golden Lion in Venice, I was curious. No doubt many other critics were, too. And so it was that […]
TIFF Review: The Whistlers (Porumboiu, 2019)
I would not call The Whistlers one of the best entries in the emerging Romanian New Wave canon, though that doesn’t take away from what Corneliu Porumboiu does well. His darkly acerbic humour migrates from his […]
TIFF Review: The Lighthouse (Eggers, 2019)
Robert Eggers delivered a memorable frightfest when he debuted The Witch in 2015, introducing Black Phillip into our collective consciousness. His follow-up is another period horror film, sans demonic goats this time around, but one […]
TIFF Capsule Review: White Lie (Lewis & Thomas, 2019)
There are far more questions than answers when you walk away from White Lie, the latest from writer-directors Yonah Lewis and Calvin Thomas. That’s because the titular white lie told by Katie Arneson (a fabulous […]
TIFF Review: Jallikattu (Pellissery, 2019)
Malayalam director Lijo Jose Pellissery takes us on a frenzied spiral into the heart of darkness in his latest blood-pumping thrill ride Jallikattu. As the opening title cards explain, the Indian tradition of the Jallikattu […]
Weekly Spotlight #13: On Dangerous Ground (Ray & Lupino, 1951)
In this weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. On tap for this week is another lesser-known noir from the 1950s, lushly directed by the great Nicholas Ray and with uncredited assistance from star Ida Lupino.
Knife+Heart (Gonzalez, 2018)
Yann Gonzalez wants the giallo to make a modern comeback, and honestly? I’m here for it. Knife+Heart revels in all the genre’s sleazy elements, including the impressionistic uses of vivid colour, ambient soundscapes (courtesy of synthpop band […]
Greta (Jordan, 2018)
Grande Dame Guignol lives on! Maybe not with the same panache as the films from the ‘60s, or the same level of insanity, but a film like Greta is worth it for the camp spectacle alone. Here […]
Weekly Spotlight #5: Hotel (Hausner, 2004)
In this weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. This week, as the Cannes Film Festival gets underway, we highlight a past feature from one of the filmmakers competing for this year’s Palme d’Or: Jessica Hausner.
Weekly Spotlight #3: Séance on a Wet Afternoon (Forbes, 1964)
In this new weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. This week we unearth a startling mix of crime and horror from the Swinging Sixties, fronted by a memorable Oscar-nominated performance.
Hotel Mumbai (Maras, 2018)
I don’t want to write too much about Hotel Mumbai because I got my fill of it in the theatre and thinking about it after the fact is like a PTSD trigger. On one hand, one can […]
Weekly Spotlight #1: Murder by Contract (Lerner, 1958)
In this new weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. This week, our inaugural film is Irving Lerner’s jaunty existentialist noir Murder by Contract.
Border (Abbasi, 2018)
This is quite the mish-mash. A heaping of Scandinavian folklore here, a sprinkle of gritty police procedural there. It ping-pongs between the two genres with intriguing results. Its feet are firmly planted in reality, but […]
Velvet Buzzsaw (Gilroy, 2019)
If Velvet Buzzsaw was going for incisive critique of the art world’s myriad frivolities, it doesn’t work well. The best it can do is to emulate the kind of dead air that’s generated by those who equate […]
A Simple Favor (Feig, 2018)
I’ve been sitting on this film for almost a day now, trying to figure out what to write about it. My mental list just has the words KENDRICK, LIVELY, COSTUMES and DIABOLIQUE scribbled in earnest, […]