Where other true crime films make an attempt to let us into the often complex emotional life of the terrifying criminal, The Iceman makes it a project to keep us out.

As TIFF's international profile has skyrocketed over recent years, to the point that TIFF is now frequently considered the most influential film festival in the world, the demand for tickets has ballooned with it.

It comes as no surprise to learn that kids are just as capable of being vicious to their peers as adults are. For most of us, we need only think back to our own childhood to conjure an example. But to actually witness such acts of cruelty before your eyes brings things into focus in a way few memories can.

It comes as a surprise, in spite of the reliable cliché about entertainers being forced to spend their days waiting tables to pay the bills, and in spite of the sage advice to “write what you know,” that there is almost nothing of note to accompany Servitude in the canon of films about restaurant service.

Twelve teenage boys and twelve teenage girls – one of each from all of the socioeconomically stratified districts in this dystopian future – are selected as “tributes” to compete in the annual Hunger Games: a last-person-standing fight to the death in the forest between all twenty-four tributes.

When you name a film after its fictional protagonist, as they've done with John Carter, you're instantly saddled with a great responsibility. Everyone who comes to see your film is going to be wondering the same thing: who is this guy, and why should I care about him? And you must answer these questions well enough to satisfy the interest you've engendered in your audience.

Promotion for Wanderlust makes it easy to write off the film as a half-baked fish-out-of-water story. A couple of uptight New Yorkers turn up at a ‘60s-style commune and have trouble relating. Is this just Jennifer Aniston making fun of hippies for 90 minutes?

There's a curious line between the genres of horror and drama, a line walked by We Need To Talk About Kevin. In horror there seems to be a necessary element of non-reality – the force that produces your fear must be beyond real life experience, or it risks tipping over into tragic drama. To make a determination we might ask: “Am I justified in being afraid of this?”

The match between the original 1960s Batman TV series and a porn parody seems too good to be true. With the cheesy costumes, poor acting, and minimal production value, the show was all but calling out to be turned into a porno!