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  • The Wild Pear Tree

    The Wild Pear Tree

    ★★★★

    Films about writers written like writers writing about writers typically don't jibe well with me, and this one certainly falls under that category, but fortunately there's a lot more heart underneath the plot here that your typical writer's writing about writers story doesn't have — and of course, it's helmed by Nuri Bilge Ceylan.

    Nuri Bilge Ceylan, his filmography speaking for itself, is a modern giant, creating giant films — and giants move slowly. People will complain about the runtime,…

  • Everybody Knows

    Everybody Knows

    ★★★½

    Farhadi's one of those directors who can make cinema seem effortless, no more difficult than speaking your mother tongue. Everything flows and comes out as it should without much thought, you don't get caught up in sentences, and conveying a point isn't an issue. Spanish isn't Farhadi's first language, perhaps not even a second, but the way he directs doesn't need a language at all.

    Everybody Knows has an unmistakably Farhadi plot, with Farhadi pacing and Farhadi cinematography, and I…

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  • Closet Monster

    Closet Monster

    If you're wondering why all new Canadian films have at least one synth-pop scored biking scene and indie dance parties with underage drinkers it's cause that's all we do here now.

  • The Last Face

    The Last Face

    Javier Bardem's face in the first scene actually made me laugh. What was he doing...

    Obviously there's been a tremendous amount of effort in this film (so, props to Penn for that I guess), and there's actually several (fairly) good moments and ideas, but overall it's just really below par. Too sappy, too melodramatic, too artificial... the effects are pretty bad, and the screenplay is lazy. Some really unnecessary slo-mo too. The concept isn't terrible, but it's just executed to…