2010s
Looking back on “the gayest horror film ever made”, Scream Queen! My Nightmare on Elm Street is the kind of documentary you wait all year to see.
VHYES tells a poignant story about the odd agency a child can find in television, and the combination of joy and horror that, almost always, follows.
Koko-di, Koko-da is a surprising triumph, a modern fable brilliantly told and performed to expert precision.
Bloodline is a truly frustrating experience – a few less unneeded twists and turns might have made the whole thing plausible.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.
Although uneven, Always in Season is hugely effective in raising awareness and provoking discussion around racial injustice.
The disappointment when Cargo turns out to regurgitate the messages of a Hollywood production despite the unique style can’t be understated.
Beyond a creative design and trailer, Killer Sofa is an idea that may have been conceived and executed foolheartedly.
Herself a Mainer, Mackenzie Bartlett wrote and directed her script The Party for last year’s Portland-Mainze based Damnationland festival.
Corporate Animals by no means breaks the horror/comedy mold, but there’s some laughs to be had.
Brilliantly utlizing animation and storytelling, Undone is unquestionably one of the best TV series of 2019.
Although beautifully crafted, Théo Court‘s Blanco en Blanco is let down by the lack of restraint and direction.
Marriage Story is amongst Noah Baumbach’s finest works; it is sympathetic and charming, while containing some career-best performances by Scarlett Johansson and Adam Driver.
An interesting, esperimental short film, The Flying Fish explores the more surreal realms of our existence that lights and cameras alone struggle to conjure up alone.