Dear TOC fans, Since our original Taste of Cinema Facebook fan page has been hacked, we created a new one (https://www.facebook.com/TasteofCinemaOfficial/). We will use this one as our official FB page to update content on FB until we retrieve the old page. Please LIKE this page and spread words among your movie-buff friends. Thanks for […]
Year: 2018
- Features
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10 Movie Masterpieces That Respect Our Intelligence
There is something appealing about “The Master of Disguise”. Yes, most of the jokes are painfully juvenile, the script is ludicrous and the cinematography is uncomfortably frenetic. Yet every now and then, in order to escape our stresses, we may just have to sit down and watch Dana Carvey play the stupidest turtle man in […]
The Favourite – VIFF 2018 Review
Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer) has done it again, adding yet another absurdist gem to a collection that shows no sign of slowing down in quality and fanfare. In The Favourite, he reimagines the reign of Queen Anne and the periodically playful, somewhat sexy competition between her two ladies-in-waiting, Lady […]
Important Notification from Taste of Cinema
Dear TOC fans, Recently our Facebook page has been hacked. There are some imposters with the same title and page cover on FB right now which have nothing to do with us. If we retrieve the old page or create a new one, we will let you know as soon as we can on this […]
Shadow – VIFF 2018 Review
At this stage in the game it feels like Zhang Yimou, the most celebrated of contemporary Chinese directors, who rose to international prominence with his distinctive brand of visually lush romantic melodrama (1987’s Red Sorghum and 1991’s Raise the Red Lantern are amongst his most memorable early works) only to reinvent himself in the early […]
The House That Jack Built – VIFF 2018 Review
At this stage in his prolific and subversive filmmaking career, confrontational provocateur Lars von Trier’s brand is essentially one of polarization. Antichrist (2009) and Nymphomaniac (2013) are two of the Dane’s most recent examples of artful, dark, and indulgent films that managed to cut crowds right down the middle, and with von Trier’s latest detour […]