Jay Stone 58 results

Jay Stone has been a fixture in Canadian media for decades, and one of the most beloved movie critics in the country. He worked at the Ottawa Citizen and Postmedia News service until he retired.

TIFF diary: My day in Auditorium 12

Movies: #TIFF17 What's it like to spend the entire day in one cinema, watching whatever comes along? Jay Stone sets out to find out at the Toronto film festival By Jay Stone TORONTO — Today I decided to test the fates by spending the entire day in one movie theatre at the Toronto International Film Festival. Most of the press and industry screenings are held at the Scotiabank cinema on Richmond Street, and I chose Auditorium 12, for reasons that will become more obscure as we go on. The result was a kind of mini-film festival, with all the delights, disappointments — and meals of dry popcorn — that one associates with the glamorous life of the freelance film critic. This is what I saw: On Chesil Beach: The first film of the day in Auditorium 12 — which turns out to be the Imax theatre, so you get a nice big screen — is this adaptation of what is, frankly, a rather thin 2007 novella by the otherwise estimable Ian McEwan. It stars Saoirse Ronan (whose appearance in ...

TIFF17 Opens with an Overhead Smash

Movies: #TIFF17 Festival's opening movie, Borg/McEnroe captures, an epic battle at Wimbledon and the two contrasting personalities — the emotional American and the cool Swede — who fought it out By Jay Stone TORONTO — A magazine called Screen has a special edition at the Toronto film festival, and it runs capsule reviews of some of the movies showing that day. Wednesday’s edition included a review of Miracle, a Lithuania/Bulgaria/Poland co-production, in which “the owner of a struggling post-Soviet pig farm finds a surprising benefactor in a visiting American investor, whose ‘good’ intentions upend the gentle rhythms of small-town life.” And that’s the film festival for you: it might be a warm and wonderful comedy, or it could be what you might later describe as the best Lithuania/Bulgaria/Poland co-production of the month. You can’t tell without actually going to watch it, and who has time for that? As it happens, I was reading this while seated next to ...
4Score

A Ghost Story Wears a Sheet, and Still Sneaks Up On You

Movie Review: A Ghost Story This meditation on grief, loss and time is told in a simple but effective story in which the dead spirit is represented by a sheet with two eye holes
3.5Score

Sam Elliott Holds On for The Hero

Movie Review: The Hero An aging cowboy actor looks for a final big role — and a chance to redeem his personal failures — in a drama that has many parallels with its memorable star
2.5Score

Paris Can Wait… Can Wait

Movie Review: Paris Can Wait A French roue takes his friend's wife on a flirtatious motor trip in this love letter to food, charming villages and other, wiser films about the same subject  
3.5Score

Maudie not maudlin as it shows us the sad in happy art

Movie Review: Maudie Sally Hawkins gives a remarkable performance as the elfin, crippled Nova Scotia artist Maud Lewis, who lived in a tiny shack and sold her paintings at the side of the road
3Score

The Lovers brushes its teeth with stuff of life

Movie Review: The Lovers In this bleak and tender view of relationships, a married couple carrying on affairs with other people find a renewed interest in one another
3.5Score

Olli Maki answers the bell

Movie Review: The Happiest Day in the Life of Olli Maki Part boxing movie and part love story, this Finnish film tells the story of a true Scandinavian hero, a prizefighter who fought for a title he didn't really seem to want    
4Score

Emily Dickinson Inspires A Quiet — and Masterful — Passion

Movie Review: A Quiet Passion The lonely, uncompromising life of poet Emily Dickinson comes to life in a Terence Davies film that evokes the solitude and bravery of a 19th Century woman
4Score

I Am Not Your Negro cuts to root of Strange Fruit

Movie Review/ Streaming/ DVD: I Am Not Your Negro The words of the late James Baldwin provide a searing portrait of race relations in the United States, and prove how little things have changed in the decades since they were written