By: Trevor Chartrand An edgy sci-fi thriller, Volition combines Back to the Future with Groundhog Day, though it takes a much darker approach. Director/co-writer Tony Dean Smith takes audiences for an interesting ride in this day-in-the-life time travel story.
By: Trevor Chartrand Fisherman’s Friends is a charming little movie that celebrates the strength of a close community, shining its spotlight on a gang of quirky singing fisherman from Port Isaac, UK. Unlike the throat lozenge brand that shares this same title, this film goes down smooth and easy – and it won’t leave a bad taste in your mouth.
The filmmakers of Buffaloed believe more isn’t enough. It’s a movie that seems to be shouting and swearing for the audience’s enjoyment but, because there’s so much of it, viewers can’t help but zone out until the actors wind back down. A detrimental criticism considering the film’s underdog story requires our full attention.
It’s been an unpredictable year for movies, but 2020 has offered plenty of memorable titles – which is not always a compliment.
Will Patton and Mark O’Brien play a father and son on the run in Hammer, a sophomore feature from writer/director Christian Sparkes (Cast No Shadow). It’s Breaking Bad meets Beautiful Boy.
Somewhere in Dave Hill’s character drama Flying Cars is a really interesting documentary about radio-controlled car racing and its niche community.
The Hunt is more politically charged than expected. It’s also more cartoony than expected. It’s a sardonically funny thriller that points out hypocrisies of right-wing and left-wing beliefs, and favours extravagantly violent finales over mutual understandings. Cynical, yes; but The Hunt is a really ballsy movie for strapping on a blast suit and barrelling through such edgy, non-partisan material.
Jesse O’Brien’s horror/comedy Two Heads Creek aims to tackle the swelling issue of racism and nationalism in Australia and the United Kingdom through the most unusual of means: cannibalism. Though it’s hard not to appreciate the attempt, Two Heads Creek’s absurd premise often overtakes the seriousness of the threat posed by racism and nationalism.
The Rest of Us needs a low triple-digit runtime, but sets up a needless challenge for itself to tell its story in under 80 minutes. What’s the hurry? And if filmmaker Aisling Chin-Yee has to compromise the narrative with condensed scenes and sharp edits to win the challenge, what’s the point?
There is nothing charming, insightful, or engaging about The Departure, writer/director Merland Hoxha’s first foray into feature-ish length cinema (the total runtime is just a little over an hour).