Friday One Sheet: DUNE PART 3
Like everything with WB and Denis Villeneuve's Dune franchise, things are designed and presented with polished perfection. I do not believe we have highlighted any of the key art from the franchise in this column previously, though. So here we...
Friday One Sheet: THE PRESTIGE @ 20
Arguably Christopher Nolan's best film, The Prestige returns to the biggest of screens, blown up from its gorgeous 35mm photography to screen via 70mm and IMAX presentations, just over twenty years after its original release in 2006. The film has...
Toronto After Dark 2026 Short Film Short Review: MOIRA, An Ambiguous European Arthouse Gem
A patient shot of a damp London metro platform opens Anastasia Mischenko's superlative short film Moira. It's a shot that instantly evokes the static-adroit Euro-cinema of early 2000s Bruno Dumont, and the more recent work of Milagros Mumenthaler (The Currents). A...
Toronto After Dark 2026 Review: MY LOVE FOR YOU IS DEEP, BUT THE DEVIL LOVES ME DEEPER
Alice is a dreamer. She wants true love, intense love, and reciprocated love. She is not finding it in the clubs with her girlfriend, though, and her current boyfriend is clearly not into her. You can hear it in his...
Sitges 2026 Review: KICK ON, Aussie Survival Thriller Asks, Et Tu, Brute?
Colourful, entertaining, and exuberantly violent, Nick Kozakis’s debut feature makes the most of the geography and the opportunities of its single location to squeeze maximum tension and maximum gore out of its ultra-lean scenario. After running out of coke and...
Friday One Sheet: HURRICANNA
Francesca Gregorini's look at the final days of model, actress, billionaires wife, and eventual celebrity punchline, Anna Nicole Smith, gets the arthouse marketing treatment with this 'slide puzzle' style key art. It features an out-of-focus Sylvia Hoeks as Smith in...
Friday One Sheet: MAKING MARIE ANTOINETTE
It has been 20 years since Sofia Coppola's Marie Antoinette was booed at its Cannes debut, before becoming an instant cult classic in its commercial release. I remember the splashy marketing, the contrast of a lavishly produced period picture with...
Toronto 2026: Wrap -- All Our Coverage (So Far)
Our curtain raiser, our reviews, our poster columns, and an interview.
Toronto 2026 Review: EVERYTHING ELSE IS NOISE
Opening with one of the most pleasurable and ambient scenes of 2026, Everything Else Is Noise announces its intentions immediately. Gridlocked traffic in a Mexico City intersection struggles to move and to find space in a complex interactive dance, while...
Toronto 2026 Review: HALF, Malayalam Vampires Throw Down the Beats, and Slay On the Beatings
Somewhere in the vast open spaces of the Rajasthan Desert in Northwestern India, there is a highly organized group of bandits operating a well-oiled machine of hijacking, car-stripping, electronics and jewellery fencing. The local cops are in their pocket,...
Toronto 2026 Review: ANCHORS AWEIGH, Deadpan Profundity, with Sailing Metaphors
Matt Barats is an idiot. He says so himself. He should have dropped a knee in his marriage proposal to his rich, blonde, much younger girlfriend. He didn’t. Now she is kissing her co-worker in the park. And here he...
Toronto 2026 Review: LADIES AND GENTLEMEN, BRIAN MULRONEY
Ladies and Gentlemen, Brian Mulroney is, in the words of our former honourable Prime Minister from Baie-Comeau, a "little bit of genius in everybody that causes something to happen in Canada, and that thing has got to be rewarded.” And...
Friday One Sheet: MINOTAUR
Refraction and separation are the key elements in the CREATE's release poster for Andrey Zvyagintsev's superb festival prize-winner, Minotaur. There are some echoes and rhymes with the design work of Akiko Stehrenberger, specifically the remake of Funny Games, one of the best posters of the...
BAD APPLES Review: There Is Always One
Saoirse Ronan stars in Jonatan Etzler's unsparing satire.
Toronto 2026 Review: BAD LIEUTENANT: TOKYO, Takashi Miike's Fairy Tale of Redemption
Is the Bad Lieutenant ‘franchise’ an excuse for wild auteur filmmakers to craft slyly black comedies full of sex and violence, and ideation-detritus that never made it into their other pictures? Is the Bad Lieutenant franchise even a franchise, or...
Toronto 2026 Review: WILD HORSE NINE, All Flourish and No Feeling
What does Salvadore Allende’s 9/11, Hank Williams, the JFK assassination, and an empathy for insects have in common? How does a stable democracy result in homosexuality, which leads, eventually, to fine quality cheeses? Writer-director hyphenate Martin McDonagh is here to...
Toronto 2026 Review: FURIES, A Feverishly Hellish Heist By Women Scorned
What is the world coming to when you have to steal your own hard earned money? Dalia is in need of a significant surgery. Until then, her medicine is only available on the black market, where half of it is...
Toronto 2026 Review: MINOTAUR, Russia As A Psychological-Visual Labyrinth
Andrey Zvyagintsev interrogates Russia in the same way 1990s era Zhang Yimou interrogated China: Methodically, metaphorically, and with an astutely savage eye for beautiful visuals to mask the criticism. There is a scene in his latest film, Minotaur, where the...
Toronto 2026 Review: RIVER, Survival Slasher Has an Experimental Streak
What is in the water in 2026 for the slasher horror subgenre? Between Avalon Fast flirting and subverting expectations in Camp, and Jane Schoenbrun's deep dive into eros and thanatos (and the pleasure principle) in Teenage Sex and Death at...
Toronto 2026 Review: FJORD, Palme D'Or Winner Finds Many Arthouse Audience Buttons to Push
Roger Ebert once described film as a “machine that generates empathy.” For writer-director Christian Mugiu, this is very much true. But what if that empathy was slyly and sharply weaponized into a provocation? Enter Fjord. In our increasingly globalized...
