‘The Stranger in the Woods’ Can’t See the Forest for the Trees
Self-awareness is subjugated to the author's fascination with his muse in this telling of a modern-day hermit.
Chelsea Phillips-Carr
‘Agnès Varda between Film, Photography and Art’
When we objectify Agnès Varda as a "harmless granny" in pop culture, we lose perspective of her important work. DeRoo's book works toward rectifying this.
‘Pink Slipped’, a Study of Women Working in Silent Film, Questions the Source
Film history is re-written both deliberately and inadvertently, and so the consideration of it as "fact" becomes tricky, as Jane Gaines' work reveals.
Is ‘From Hollywood to Rose’ a Parody of Indie Film?
Nerd fervour in this debut comedy distracts from an interesting premise.
The Haunted House Is Not What’s Scary About ‘Winchester’
Although it wants to be a commentary about gun violence in America, Winchester appears to be too scared to fully stand up to the issue.
Louis CK’s Unconvincingly Self-Flaggelating ‘I Love You Daddy’
CK draws attention to sexual harassment problems while indulging in being able to have such problems.
TIFF 2017: ‘The Shape of Water’
The Shape of Water comes off as uninformed political correctness, which is more detrimental to its cause than it is progressive.
TIFF 2017: ‘The Royal Hibiscus Hotel’
Though a typical rom-com, Ishaya Bako's film is never boring.
TIFF 2017: mother!
While Aronofsky’s artistry is at an all-time-low, it's his misogyny that makes this film abhorrent.
TIFF 2017: ‘Faces Places’ (Visages Villages)
Agnès Varda's usual cinematic beauty and charm come through, with her subjective experience creating a wonderfully delightful film about art.
TIFF 2017: Le Redoutable
Blinded by love for Godard, Le Redoutable is an uncritically sexist bore.
TIFF 2017: ‘Never Steady, Never Still’
The troubled characters in this film deserve a more complex, nuanced approach.