Toronto 2014: ScreenAnarchy Wraps It Up With All Our Reviews And Top Films
The Toronto Film Fest is all said and done for 2014 and again the ScreenAnarchy team pumped out the reviews. You can find all our reviews here for your perusal and check out our top picks and misses in the gallery below.
Galas & Special Presentations
Midnight Madness & Vanguard
TIFF Docs & Contemporary World Cinema
Discovery, Masters, and more
'71 Review by Todd Brown
Alive Review by Pierce Conran
Big Game Review by Jason Gorber
Cake Review by Ryland Aldrich
Cart Review by Pierce Conran
Charlie's Country Review by Jason Gorber
Clouds of Sils Maria Review by Kurt Halfyard
Electric Boogaloo: The Wild, Untold Story of Cannon Films Review by James Marsh
Hector and the Search for Happiness Review by Kurt Halfyard
Leviathan Review by Kurt Halfyard
Men, Women & Children Review by Ryland Aldrich
Monsoon Review by Jason Gorber
Nightcrawler Review by Jason Gorber
Over Your Dead Body Review by Todd Brown
Rosewater Review by Jason Gorber
Run Review by Jason Gorber
Scarlet Innocence Review by Pierce Conran
Song of the Sea Review by Todd Brown
Spring Review by Kurt Halfyard
St. Vincent Review by Jason Gorber The Connection Review by Jason Gorber
The Dead Lands Review by Jason Gorber
The Drop Review by Ryland Aldrich
The Duke of Burgundy Review by Kurt Halfyard
The Editor Review by Kurt Halfyard
The Equalizer Review by Peter Martin
The Face of An Angel Review by Ryland Aldrich
The Imitation Game Review by Jason Gorber
The Last Five Years Review by Jason Gorber
The Little Death Review by Kwenton Bellette
The Look of Silence Review by Jason Gorber
The Price We Pay Review by Jason Gorber
The Theory of Everything Review by Jason Gorber
The Voices Review by Jason Gorber
The World of Kanako Review by Kurt Halfyard
Tokyo Tribe Review by Jaime Grijalba Gomez
Tusk Review by Jason Gorber
While We're Young Review by Zach Gayne
Wild Review by Jason Gorber
Big Game Interview by Kurt Halfyard
contributed to this story.
What was your favorite film of the fest?
Jason Gorber: Nightcrawler for me was the perfect blend of an accessible film that's got profound ideas, stellar execution, and an artistic flair. Close runner-up was likely The Last Five Years, as it was the first time ever at in 18 years of doing TIFF that I saw the same film twice at a festival (couldn't pass up the chance to see it in an IMAX venue!)
Ryland Aldrich: The movie I'll remember most from TIFF 2014 is the awesome Nightcrawler.
Kurt Halfyard: Leviathan - This vodka-soaked social drama takes a long look at the system as it stands to crush the little guy in its whale-sized wake. The story takes difficult and surprising turns that evoke anger and despair with 21st Century Russia and its citizens. Filmed on the Arctic coastline with real beauty and power, the score (with contributions from Philip Glass) is as astonishingly powerful, but never more so than the gut-churning final punchline.
Zach Gayne: Fiction - It Follows is a truly frightening horror indie that translates the aesthetics of director David Robert Mitchell's first feature - the teen drama Myth of the American Sleepover - into an eerie innocence lost atmosphere, full of ghastly frames, evoking the surreal haunts of Carnival of Souls. Mitchell's pitch perfect screenplay and tonally masterful execution make It Follows more than the most impressive horror film I've seen all year.
Doc - Electric Boogaloo: The Wild, Untold Story of Cannon Films - With the right subject matter, certain documentaries, if presented well enough, simply cannot fail. Such is very much the case with Electric Boogaloo, the untold story of The Cannon Group, who brought the world such anti-classics as Breakin’, Death Wish 2,3,4…, and Masters of the Universe, amongst a sea of other low-budget titles the management would peddle by selling movies based on fake posters.
Carrying Roger Corman’s legacy of dirt into the bizarre 80s, the bad-news-Jews, Menahem Golan & Yoram Globus, two Israeli cousins who infiltrated Hollywood in the 70s, made an obscene number of movies with a rigorously indie cowboy spirit. Some were awful, others were favorited by millions (though still a little awful), but with a confused sense of storytelling, Golan-Globus turned indie-filmmaking into an economically sound factory of output that, in retrospect, makes the booming accomplishments of the Weinstein brothers a little less original. I already loved this movie going in, and given the spot-on collection of talking head perspectives and sordid clips provided by Not Quite Hollywood director Mark Hartley, I loved the doc exponentially more leaving the theater. Cannon warrants its own film festival. Do it!