Toronto Movie Guy

  Todd Haynes’ Velvet Goldmine is an intricate, outre delight that leaves you feeling empty and dissatisfied, at least in part by design, r...

In Eric Rohmer’s L’ami de mon amie, Blanche and Lea, both in their early twenties, become friends; Blanche is single but develops a crush o...

  Ira Deutchman’s Searching for Mr. Rugoff is a modest but cherishable piece of cinema history, packed with juicy anecdote and memoir. The ...

  As in the joke about the piano-playing dog, one was probably never supposed to ask whether the 1975 Welsh-language Gwaed ar y Ser (Blood o...

  Max Ophuls’ Caught follows the journey of Leonora Ames (Barbara Bel Geddes) and her relationship with two men placed at economic, social ...

  Nam-ok Park’s 1955 film The Widow is highly worthwhile viewing, notable as the first Korean film to be directed by a woman, and marked by...

  John Huston’s The Bible…in the Beginning is as misbegotten as any big-budget movie of its era, its superficial fidelity to the source and...

  Jean-Pierre Melville’s directorial control over Le deuxieme souffle sometimes seems to border on the supernatural, to be drawing from a l...

  Thomas McGuane’s 92 in the Shade is, often simultaneously, a film made out of almost nothing (even at a late stage, it spends extended ti...

  The opening sequence of Michael Haneke’s Time of the Wolf might promise a relatively conventional society-breakdown film: a family of fou...

  An ambitious fusion of cold-hearted murder drama and poignant romantic comedy, Woody Allen’s Crimes and Misdemeanors often feels on the e...

  Jan P. Matsuszynski’s Leave No Traces doesn’t make for the most comfortable viewing at a time of enforced deportations based on unfounded...

  Atom Egoyan’s Ararat is fairly typical of the director’s post-peak works: meticulously controlled, preoccupied with weighty themes, its s...

  The 1981 Tragedy of a Ridiculous Man is probably no one’s favourite Bernardo Bertolucci movie, feeling throughout more confined and murky...

  Any brief account of Claire Denis’ grievously overlooked Stars at Noon must surely start with Margaret Qualley’s blistering lead performa...