Toronto International Film Festival — A–Z of films

Hamaguchi’s most pointed provocation is not that the nursing home becomes excessive in its care, but that ordinary neglect has trained us to see basic tenderness as excess.

For all the strangeness of the premise there’s not a lot of meat on the bones of this story.

Hossain keeps the mood claustrophobic.

Mungiu’s eye moves between the juggernaut and the barely visible.

Seydoux takes us into the maelstrom with Lucy, determined and doubtful, angry and grief-stricken, fearful and belligerent all at the same time.

Pompeii becomes a place where fantasy is tested against historical violence, and where looking too closely can break the story one came to preserve.

The story sometimes lacks thrust, but when it isn’t working, something new will be on screen soon enough.

Worse than incomplete, Haigh's film lacks a fully developed soul. This is in spite of striking aesthetic moments and sharply written scenes complemented by strong performances from the cast.

Nicoll also shows skill at balancing the mood; black comedy is employed but never allowed to put the tension out of business.

Up until the end laced with cheap pseudo-biblical references, this horror-drama serves as a fun and thrilling ride.

Tender Loving Care is all about the little bits of conversation that make the world a bit more comfy for others.