The second annual Toronto True Crime Film Festival (happening this weekend at The Revue) kicks off with directors Rose Rosenblatt and Marion Lipschutz’s heart-wrenching, infuriating, and complex documentary, Bei Bei.
Appropriately candid and righteous, but somewhat lacking on the whole, the showbiz comedy Late Night has a great concept and a well honed social and political viewpoint that would work better if there was some added depth and nuance.
While its overall style of excessively literal deadpan humour won’t be to everyone’s taste (especially horror fans going into this expecting a broader, gorier zombie comedy), The Dead Don’t Die is a silly, unpretentious, and admittedly slight bit of good fun from art house darling Jim Jarmusch.
Rigorously researched, exceptionally edited, and emotionally draining, the initially unassuming art world documentary There Are No Fakes might be one of the most vital, complex, and controversial Canadian films of the year.
Political junkies and American history enthusiasts will gobble up all four hours and twenty minutes of director Charles Ferguson’s Watergate, a comprehensive overview of the most high profile governmental scandal of the twentieth century.
A cheeky and sometimes deliberately obtuse reworking of documentary conventions from a master filmmaker, Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese offers a fitfully weird, but largely factual look back at one of the most divisive and unique tours in the history of rock and roll.
Domino, the latest film from controversial and divisive American auteur Brian De Palma, recently skipped theatres in most markets and went straight to VOD. It’s not hard to see why, despite the filmmaker’s pedigree.
A limp, dull animated sequel that pretty much ignores everything that made its predecessor a low key charmer, The Secret Life of Pets 2 is a film that only exists to sell merchandise to kids and adults in the laziest possible way.
Wild Nights with Emily, the latest film from Madeleine Olnek, is a cheeky, playful period piece comedy with a serious desire to change perceptions about one of the most misunderstood and misinterpreted poets in literary history.
Music buffs well versed in 1960s pop rock will likely get more from the documentary Echo in the Canyon than casual observers, but that doesn’t mean it isn’t an effectively loving ode to some of the greatest American bands to hail from the same unique California community.