The Good, the Bad, the Weird
Review: ****
The highest budgeted film in the history of Korean cinema is an action-packed, candy-colour­ed, pop-art homage to the spaghetti Western, starring some of the finest genre actors in the country (including the incredibly versatile Kang-ho Song). 

The filmmakers have no real agenda beyond pure entertainment, but Ji-Woon Kim directs with such confidence, precision and style that it’s hard not to get caught up in the goofy shenanigans.

Few movies at the festival are this gleefully entertaining even if few are as episodic and absurd.
– Phil Brown/For Metro Toronto

$9.99
Rating: **** 1/2
Want to know the meaning of life? The stop-motion animation film $9.99 just might help you find it.

Voyeuristically delving into the lives of several apartment dwellers from a child who befriends a piggy bank, to an old man who just wants someone to talk to, $9.99 provides intimate, identifiable snapshots of life in action. The film combines elements of comedy, tragedy and revelation, made cohesive by starkly effective characters and their artless interconnectedness.
– Brian Coulton/For Metro Toronto

Control Alt Delete
Rating: *
Boy meets girls, boy meets computer porn, boy loses girl, boy discovers the personal in personal computer — this is the plot of Cameron Labine’s Y2K period piece in a nutshell. The director’s brother, Tyler Labine, plays sad sack computer nerd Lewis, whose online porn habit leads to him skipping the middleman and discovering a passion for violating PCs after his girlfriend leaves him.

Cheerful and sordid at the same time, it gives a whole new meaning to the phrase “Dude, you’re getting a Dell!”
– Rick McGinnis/Metro Toronto

Adam Resurrected
Rating: **
There was a time when Paul Schrader was one of the most important filmmakers in America, but sadly those days are over. Adam Resurrected is the latest disappointment by the Taxi Driver scribe, starring Jeff Goldblum as former clown and holocaust survivor struggling to deal with his past and his sanity. Goldblum delivers a solid performance through a sketchy German accent, but Schrader’s direction and use of symbolism are about as subtle as a ...[next page]