Lie Exposed is adapted from Jeff Kober’s play Pornography. That’s a better title, but I guess it would sink you on th…
Come to Daddy is bloody fun for the midnight movie crowd
Tofino looks good in Come to Daddy (though it’s playing Oregon). Elijah Wood does not. His smugly idiotic haircut and…
VIFF 2019: In the Tall Grass
Who better to pull off a horror movie set entirely in some tall grass than Vincenzo Natali, whose breakout hit Cube w…
VIFF 2019: Hard-Core
Hard-Core isn’t the sort of movie to make a big splash in North America. It’s a low-budget manga adaptation with an u…
VIFF 2019: Melancholic
Melancholic is your average romantic-comedy action-thriller crime-drama satire. It’s like Parasite on a microbudget. …
VIFF 2019: Children of the Sea
Children of the Sea is the kind of kid’s movie that you can feel good about showing to kids. It’s idealistic, fantast…
VIFF 2019: Vanishing Days
I didn’t enjoy watching Vanishing Days all that much. That’s too broad and too subjective to be of help to you, dear …
VIFF 2019: Wild Sparrow
Wild Sparrow opens with a set of images so obvious you’ll be certain you know where it’s going. You won’t be wrong, b…
VIFF 2019: Parasite
From Memories of Murder to The Host to Snowpiercer, Bong Joon-ho has built up a small store of images in my brain. A …
VIFF 2019: Guest of Honour
Your familiarity with Atom Egoyan may be a good indicator for your enjoyment of Guest of Honour. Maybe you’ve been wa…
VIFF 2019: No. 7 Cherry Lane
Quentin Tarantino’s Once Upon a Time in Hollywood will be the most talked-about movie this year to recreate and playf…
VIFF 2019: The Lighthouse
It’s a year for follow-ups: The Lighthouse, Us, The Nightingale, The Lodge, Under the Silver Lake, and Midsommar all …
