A broken man fallen from grace and now inhabiting the streets and alleys around Union Station spots the lost boy, but when he approaches the authorities his mental illness causes the credibility of his discovery to be questioned.
[2] After its limited Canadian release three months later, Bruce DeMara of the Toronto Star was much more positive, giving it three stars out of 4; DeMara, acknowledging he was an "unabashed city booster", said "cinephiles looking for the next generation of directors to follow in the footsteps of James Cameron, David Cronenberg and Norman Jewison may find it in this cadre of filmmakers."
DeMara called Gil Bellows's performance a tour-de-force and said the "vignettes make Toronto look very good indeed, by turns accessible and mysterious, livably bourgeois in some places, raw and gritty in others, hip and modern, but with a sense of history."
"[3] Now called it a "plodding, uninspired collection of four short films — each written and directed by a well-regarded local filmmaker — that never rise above mildly engaging, are often just plain lousy and fail to use the city in any creative or interesting way.
Nor, despite all its proud displays of local colour, does it present Hogtown as memorably as such other recent Toronto-centric indie pics as Monkey Warfare, Sabah or In Between Days.