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Movie Reviews

  • Indiewire
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    Toronto Review: Kim Ki-duk's 'Pieta' Is Not Your Average Crime Movie

    "Pieta," a curiously engaging and wickedly twisted tale of crime and punishment on multiple levels, displays its theatrical minimalism like a dour badge of honor.

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  • Thompson on Hollywood
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    'Cloud Atlas' Review and Roundup: And Now for Something Completely Different

    One Toronto movie met mixed response but was a delirious joyride for me: "Cloud Atlas." Truth is, except for the flat "V for Vendetta" and the final pixel-fucked "Matrix" movie, I've admired all of the Wachowskis' output, even "Speed Racer." These filmmakers have it all: strong writing chops, an ins...

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    TIFF Capsule Review: 'Just the Wind'

    After making the creepy sci-fi love story “Womb” with Eva Green in English, Hungarian director Benedek “Bence” Fliegauf returns to his home country and a much more realistic register with “Just the Wind.” Inspired by true events that occurred a couple of years ago, the film looks at the last day of a Romany family — composed of a mother (Katalin Toldi), her adolescent daughter (Gyongyi Lendvai) and her younger brother (Lajos Sarkany) — in a country where casual racism and verbal hatred of the Gypsy community have become such an accepted part of life that no one, not even the police and, to an...

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    TIFF Capsule Review: 'Peaches Does Herself'

    Toronto-born, Berlin-based electronic musician and singer Peaches plays herself in the concert film “Peaches Does Herself,” a no-holds-barred explosion of post-punk and neo-queer performance art that mixes song, music, dance, theater, costumes and nudity. Born Merrill Beth Nisker in 1966, though she doesn’t look older than 25 or thereabouts, Peaches performs songs on a Berlin stage from her various albums, including “Teaches of Peaches,” “Fatherfucker” and “Impeach My Bush,” with her radical, sexually explicit and often queer- and transgender-themed lyrics accompanied by musicians, danc...

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    TIFF Capsule Review: 'As If We Were Catching a Cobra'

    The relationship between the Islamic world and newspaper cartoons has been a hot international topic ever since the Danish newspaper Jyllandss-Posten published cartoons depicting the prophet Mohammed in 2009. Strangely, Paris-based Syrian director Hala Alabdalla chooses not to mention this incident in her documentary praising the work of caricature artists in Egypt and Syria. Yet she seems to have trouble cutting anything else out. It’s almost unfortunate for Alabdalla that the Arab Spring took place while she was in production, as it causes the director to lose focus on the subject at hand. While most of the interviews are at times ...

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    Toronto Review: 'Passion' Will Please Brain De Palma Fans -- And No One Else

    Since earliest stages of Brian De Palma's career, his thrillers have constantly walked a line between self-parody and earnest pastiche. "Passion," a reworking of the late Alain Corneau's final film "Love Crimes," reassuringly falls into this camp.

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  • Leonard Maltin
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    The Master—movie review

    'The Master' flirts with greatness and has much to admire, including exceptional performances from Joaquin Phoenix and Philip Seymour Hoffman. Their work is reason enough to recommend the film, yet at the screening I attended the audience was strangely silent at the end.

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  • Leonard Maltin
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    10 YEARS—movie review

    Screenwriter Jamie Linden ('We Are Marshall', 'Dear John') says he was inspired to write and direct '10 Years' by attending his own high school reunion. Fair enough.

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  • Leonard Maltin
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    Arbitrage—movie review

    Richard Gere is perfectly cast in 'Arbitrage' as a financial wheeler-dealer whose world caves in on him because of some bad decisions he’s made.

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    Toronto Review: Nick Cassavetes' 'Yellow' Suggests 'Bad Teacher' By Way of Bob Fosse and Todd Solondz

    Nick Cassavetes has yet to his on a filmmaking style to rival his father's legacy, but with "Yellow," the director of "The Notebook" presents a relentlessly unhinged portrait of emotional turmoil with bold stabs at expressionistic representation at every turn.

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