Tyler Perry apologists may find pleasurable qualities in Sergio Navarretta’s The Colossal Failure of the Modern Relationship. Then again, even those movie goers have seen this sort of romantic peril too many times by now (the Why Did I Get Married? series).
By: Nick Ferwerda 47 Meters Down follows sisters Lisa (Mandy Moore) and Kate (Claire Holt) on a Mexican getaway. After a recent break-up with a long-term boyfriend, Lisa wants nothing more than to make him jealous and prove she isn’t the boring individual he made her out to be.
By: Jessica Goddard The Hero is a fine movie, but nothing particularly groundbreaking. Sam Elliott stars as the lonely, burnt-out actor Lee Hayden, who deals with his pancreatic cancer diagnosis by avoiding it completely. He spends his days smoking pot with his dealer (Nick Offerman) and standing at the ocean shoreline, brooding. His relationship with his daughter (Krysten Ritter) is awful because he was “always away”, and his life is completely devoid of romantic love…
The Bad Batch is a gnarly postmodern western.
Jude Klassen’s feature film debut Love in the Sixth is a hodgepodge of “stuff”, but I kind of expected that.
We’re halfway through the year, which means it’s time for Wylie Writes’ recap of the best and the worst films of 2017. Don’t forget to click the coloured titles to read a more detailed write-up about the film!
Jeff Garlin is a clever and hilarious performer. You wouldn’t know that from watching Handsome: A Netflix Mystery Movie. Garlin directed, wrote, executive produced, and stars as Gene Handsome in this unfathomable clunker about a lonely homicide detective in LA. Yet, the film is so devoid of engagement, you would think the actor/filmmaker was tanking this project on purpose to honour a lost bet.
Well, here I am swimming upstream – having seen Universal’s The Mummy and actually liking it. How do you defend a movie that’s hard to save due to the outpouring of negativity against it? Hey, I was there to defend last year’s heavily panned Suicide Squad. I can give The Mummy a shot.
It’s a bleak future that Eren Özkural’s Run Away With Me presents. Abraham (Kye Loren) is released from prison to a familiar yet dystopian existence. With no real way to integrate back into society, he finds work from a mysterious and blatantly untrustworthy man (Bill Hutchens), and also meets a peculiarly familiar woman (Rosie MacPherson) along the way who brings his spotted past into a collision with his present, and humanity’s future.
There is a tradition in American horror cinema of making a short film with a lot of effects and minimal plot to be eventually used as a calling card. It seems like this practice has found its way into the feature length semi-mainstream. At least, that’s the only explanation for the existence of Trey Edward Shults’ It Comes at Night, a film which shows the director’s abilities as a horror filmmaker – including his great gift for…