TIFF 17
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IFC Acquires ‘Mary Shelley’ Biopic Ahead of AFM
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[TIFF Review] ‘Veronica’ is a Stylish, Albeit Familiar, Possession Film
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Kino Lorber Acquires ‘Let the Corpses Tan’ Out of TIFF
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IFC Midnight Calls Upon ‘Pyewacket’ Out of TIFF
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Trailer for ‘Les Affamés’ (‘Ravenous’) Looks Like it Slays!
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[TIFF Review] ‘Vampire Clay’ is an Unintentionally Funny Mess
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[TIFF Review] ‘Mom and Dad’ is Peak Cage (Not in a Good Way)
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[TIFF Review] ‘The Shape of Water’ is a Beautiful and Captivating Fairytale
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[TIFF Review] ‘Downrange’ is Gloriously Vicious and Mean-spirited
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[TIFF Review] ‘The Ritual’ Will Make You Reconsider a Hike in the Woods
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[TIFF Review] Occult Film ‘Pyewacket’ Succeeds by Teasing and Delaying the Horror
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[TIFF Review] ‘Brawl in Cell Block 99’: Brutality of Fights Worth the Price of Admission
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Bloody ‘Downrange’ Clip: It’s Not So Funny Anymore, Is It?!
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30WEST Harbors a Murderer with TIFF Thriller ‘Beast’
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[Interview] ‘Let the Corpses Tan’ Directors Hélène Cattet and Bruno Forzani
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IFC Acquires Ellen Page Zombie Flick ‘The Cured’
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[TIFF Review] ‘Revenge’ is a Bloody Revisionist Take On the Rape-Revenge Film
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[TIFF Review] ‘Marrowbone’ is An Overly Complicated Ghost Story
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[TIFF Review] Slow Burn ‘Pyewacket’ Delivers Brooding Heavy Metal Horror
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[TIFF Review] Familiar ‘Les Affamés’ (‘Ravenous’) At Least Has Interesting Zombies
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[TIFF Review] ‘The Cured’ is a Social Drama with Horror Undertones
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[TIFF Review] Striking Coming-of-Age Thriller ‘Thelma’ Resembles ‘Carrie’
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Vicious ‘Motorrad’ Teaser Leaves Bodies All Over TIFF (Exclusive)
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[TIFF Review] ‘The Crescent’ is Twisty and Nightmarish