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Christopher Cross

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Chris is a graduate of Communications from Simon Fraser University and resides in Toronto, Ontario. His favorite films include The Big Lebowski, The Raid 2, Alien, and The Thing. You will often find him with a drink in his hand yelling about movies.
Mom and Dad

TIFF 2017: ‘Mom and Dad’ Reflects On Youth Through Brutality

It's easy to just enjoy the ride of 'Mom and Dad,' but there's an uneasy feeling at the center of the film that makes it occasionally difficult to wrestle with.

TIFF 2017: ‘Three Billboards Outside Ebbing, Missouri’ Questions The Necessity Of Violence

'Three Billboards' takes itself to Hell and back in order to present a textured portrayal of grief and culpability in a small community.

TIFF 2017: ‘Bodied’ Takes The Gloves Off

'Bodied' is an important film, but a deeply flawed one.

TIFF 2017: ‘The Disaster Artist’ Frames a Masterpiece in Bad Films

Making someone want to watch a bad movie is what makes 'The Disaster Artist' such a great telling of a preposterous real-life story.
Breathe

TIFF 2017: ‘Breathe’ Can’t Quite Find Its Breath

Great performances make it hard not to at least like 'Breathe,' but they're in service of comfort food for period piece fans that will unfortunately do nothing for those outside of that audience.
The Florida Project

TIFF 2017: ‘The Florida Project’ Delights and Devastates in Equal Measure

'The Florida Project' is unflinching at times, and one of the best films of the year.
babydriver-anselelgort-jamiefoxx-earbuds

Facing the Music in ‘Baby Driver’

There are few moments in Baby Driver where the titular character, Baby (Ansel Elgort), ever really has to "face the music." He’s young, fast, and has a lot of music to drive alongside, which is why it not only comes as a shock, but also as a fitting closure to Baby’s arc, that the final act of the film revolves exclusively around facing consequences.

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