This is a mature and well-executed study of what happens when people die and leave us with their messes to clean up.
Kill List is the single most demented horror film I have seen in years, and maybe also the very best.
An exquisite, terrifying, and marvelously vertiginous film, Martha Marcy May Marlene is my favourite movie of the Festival, and may stand up as my favourite picture of the year.
Although in some ways a seductive feminist study of sex, power, and commerce -- for Binoche is writing this article for money, we cannot forget -- the overall impression by film's end is one of bewilderment rather than contemplation.
Todd Solondz (Happiness, Life During Wartime) understands tackiness on a deeper level than just about everyone else in the business besides John Waters.
This quiet little tour de force about a troubled young boy has bewitched the critics at this year's Festival.
Take This Waltz is set in Polley's native Toronto and it makes wide use of that city's funky west end for its locations and local musicians for its score (a real treat for this Torontonian).
Documentaries made by non-documentarians can be exhilarating since, new to the form, the filmmakers tend to break old rules and push into interesting territory. But they can also wind up looking something like Pearl Jam Twenty.
This dark, angry movie wants to be a smart, keep-you-guessing political thriller but winds up a wildly improbable and deeply cynical melodrama.
"The earth is evil. We don't need to grieve for it." So declares a luminous Kirsten Dunst in Danish provocateur Lars von Trier's best and most powerful film yet.