Gael García Bernal
Equal parts fantastic and frustrating, Ema soars sky-high but cannot maintain those heights over the course of the film.
A couple deals with the aftermath of an adoption that goes awry as their household falls apart.
Despite a strong first half, Old, the latest nightmare from M. Night Shyamalan, quickly falls apart in the second half.
A family on a tropical holiday discovers that the beach where they are at is somehow causing them to age rapidly reducing their entire lives into one day.
This slick spy story has too many tricks up its sleeve, leading more to confusion than thrills.
Ema is not like any other film that has come out this year so far. Its celebration of female agency is like a fever dream — indescribable and euphoric.
Wasp Network’s bites off far more than it can chew, there’s no denying this all-star cast makes up for what is lost in plot.
Suleiman’s It Must Be Heaven balances wit and amusement with a melancholic, maybe even unfulfilled, sense of belonging.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.
The Kindergarten Teacher is expertly magnetic as a vessel for a cringe-worthy effect of its own making, and with a strong central performance by Maggie Gyllenhaal as well.
Film Inquiry’s Alex Lines has left MIFF 2018 – his final report includes some of the best (and two of the worst) films he saw.
A kindergarten teacher in New York becomes obsessed with one of her students who she believes is a child prodigy.
Coco is a refreshingly respectful look at Mexican culture, told from a child’s perspective but in a surprisingly poignant way as well.
Salt and Fire is an alluringly ambiguous environmental thriller by Werner Herzog, featuring purposefully stilted and brilliant performances.
You’re Killing Me Susana doesn’t adhere to almost any of the rom-com genre’s stereotypes, yet its static characters cause it to stumble.