A Married Couple
And just like that, 11 days later, TIFF '11 is a thing of the past.
The most eagerly anticipated awards of TIFF 2011!
We talk with the writer and director of Canadian true-crime biopic Edwin Boyd.
Cancer and comedy as a recipe for schmaltz. What are the odds?
It's a movie. It's called Trespass.
It's like Dogtooth. But better.
Co-directors of Doppelgänger Paul (Or a Film About How Much I Hate Myself)
TIFF day five and just like Paul Williams, we're still alive!
Francis Ford Coppola's latest is an expressionistic mini-masterpiece of grotesque. With 3D!
A funny, ballsy, and bloody Canadian hockey movie. About time.
TIFF day four and we've got more! Reviews, that is!
A wrenching, darkly funny debut feature.
With a little help from filmmaker Stephen Kessler, Paul Williams makes it over that rainbow.
Willem Dafoe plays a heartless poacher with a heart of gold. Wait, what?
Some laboured class anxiety curdles a serviceable teen romance.
Unsurprisingly, the Dardennes latest is great. Surprisingly, it's not even that despairing!
We talk with the writer, director, and star of i am a good person/i am a bad person.
Our chat with the director of the gutsy, illuminating Pink Ribbons, Inc.
It's TIFF day two, and have we got reviews for you!
Strong performances leaven this fairly straightforward tale of male competition
A fittingly masterful exercise in creation under duress.
Somebody should take this movie out to centre ice, drop the gloves, and smack it into shape.
Ramsay's nature/nurture drama a gawky bloodbath.
Programmer of TIFF's avant-garde and experimental programme, Wavelengths
This Chilean trip through memory and heartache proves slick and heady, if a bit empty.
Alexander Payne's latest is assured, without being all cocky about it.
Cronenberg's Cronenberg movie proves thoroughly Cronenbergian
Best bets for the opening day of the festival.
Bruce McDonald's unlikely sequel is his best film in years.
Art and, well, some other stuff are felt out in this adolescent journey of self-discovery.
Polley's latest is uneven, albeit genuinely affecting in places.
Ingrid Veninger's latest, darkest feature proves her best yet.
It's like a grown-up movie, but, you know, for kids!