About Jason Gorber
Jason Gorber is a film journalist and member of the Toronto Film Critics Association. In addition to his work for High-Def Digest he is the Managing Editor of ThatShelf.com, the Features Editor at DTK Magazine and a regular contributor for POV Magazine and Cineplex.com. His writing has appeared in Esquire, The Toronto Star, The Globe and Mail, The National Post, Screen Anarchy, Birth.Movies.Death, IndieWire and more. He has appeared on CTV NewsChannel, CBC, CP24, RogerEbert.com and many other broadcasters.
Can documentaries that lie tell deeper truths? What happens when a film ostensibly presented as non-fiction has actors, famous or otherwise, completely bullshitting stories about one of the most famous rock gigs in history? Does t...
The X-Men series has felt like a bit of a misfire from the very start. Even by the convoluted standards of comic book fare, the ensemble pieces never quite managed to thread the needle between world-building and giving each member...
Ladj Ly’s Les Misérables is a far cry from the musical that popularized the tale of star-crossed love and political upheaval in revolutionary France. This one is more akin to a Spike Lee joint, full of fury and poignancy, pi...
There are many things disheartening about Domino, a below average terrorist thriller that feels more like a misjudged TV movie than the work of an iconic director. Such has been Brian De Palma’s fall from grace, the result i...
Godzilla has always been a tale of unintended consequences. The original monster was a parable about the dangers of atomic warfare created in the country where the bomb was dropped. After more than three dozen movies involving the...
There’s a danger that talking about Abdellatif Kechiche’s new film somehow encourages it, similar to the fears that speaking the names of serial killers glorifies them. If any film at Cannes this year truly verged on t...
For three years running, Warner Bros. has promoted a new restoration as part of the “Cannes Classics” series. These screenings take place in the Debussy, the second largest (and preferred) theater of the palais complex...
Monia Chokri is a Quebecois actress best known to international audiences for her role in Xavier Dolan’s 2012 film Laurence Anyways, and has followed her fellow Canadian to Cannes with her directorial debut. A Brother’...
Grifter stories are always fun, as they invite audiences to ride along with the con through its twists and turns. Bong Joon-ho has turned the genre on its head with Parasite, another of his films that refuses to adhere to any one ...
Canadian filmmaker Xavier Dolan returns to Cannes with Matthias & Maxime, the story of two childhood friends who long have harbored a quiet, unresolved affection for one another.
Like his 2015 film The Witch, Robert Eggers’ The Lighthouse feels more like a lost artifact than something newly produced. Where The Witch explored the darkness of Salem paranoia and demonic possession, the director’s ...
The fable-like title (an obvious allusion to Leone) and Quentin Tarantino’s track record of toying with history should give you a pretty good hint about what’s in store with his latest film. Once Upon a Time in… ...