George Clooney’s long-time filmmaking partner, Grant Heslov, makes his directorial debut with this wobbly comedy.
A young Toronto woman (Meredith Cheesbrough) tries to understand the roots of her disconnected emotional state in Adam Garnet Jones’s short drama, which Toronto audiences saw in last year’s ImagineNative festival.
On the surface, the eight hardened ex-cons trying to get by on the outside in Alan Zweig’s doc seem tough and unpredictable, people you wouldn’t want to meet in a dark alley.
There’s nothing in Robert Zemeckis’s new production of A Christmas Carol that couldn’t have been shot with live actors and conventional CGI effects.
Now that The X-Files has beaten the whole alien abduction thing to death, The Fourth Kind offers a reasonably clever tweak to the genre: Olatunde Osunsanmi’s thriller purports to be a fictional re-enactment of actual events that took place in Nome, Alaska, in the fall of 2000 – and includes considerable footage of the allegedly real people who experienced them.
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Movie Times & Mini Reviews
When it comes to documentaries, access is essential, and Sarah Goodman got exactly what she needed to make When We Were Boys, an absorbing film about life in an elite private boys’ school in Toronto.
With a simple story about an angel who wants to become human, beautifully composed shots of Berlin and a unique score, Wim Wenders creates cinematic poetry and an exploration of spirituality based on an unassuming compassion for ordinary life.
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