The Congress

By: Addison WylieTheCongressposter

The Congress has been made by Ari Folman, and I would go as far as to say the filmmaker is a visionary.  When watching The Congress, it’s clear the filmmaker has a wide load on his mind, and he expresses those thoughts in various artistic ways.  Folman’s imagination may have been the leverage that earned his Waltz With Bashir an Oscar nomination in 2009.

The fallback with being a visionary, however, is figuring out how not to get ahead of yourself.  Creative integrity could likely become less of a high-end quality as it embodies more of a artistic sanctum.  Folman may have the ability to propose grandiose ideas with noble imagery, but he’s unable to include his audience in on his breakthroughs.  It’s a shame since a lot of this balderdash probably bares ideologic honesty about the work this film is based on (Stanislaw Lem’s short novel The Futurological Congress).

The Congress has trouble from the get-go.  The premise has actress Robin Wright playing a heightened version of herself in an overly heightened reality of greedy Hollywood.  She’s referred to as a falling star, someone who is flakey and unreliable, as well as untalented at her current age.  Wright takes these blunt negativities without flinching, but a couple of these jabs has Folman’s screenplay sounding harsh and too personal.  I wonder if real life Wright found this experience to be cathartic or defeating.  Maybe she’s a masochist. Continue reading

Wylie Writes on the Red Carpet: ‘The Hobbit: The Battle of the Five Armies’


The Canadian premiere of The Hobbit: The Battle of the Five Armies took place in Toronto and Oscar-winner Peter Jackson, co-star Lee Pace (Pushing Daisies, The Fall), and screenwriter/producer Philippa Boyens hit the red carpet at the Windsor Arms Hotel. Continue reading

It’s Good to Be the King: Robin Hood: Men in Tights


By: Addison Wylie

Last time we checked in with TIFF’s Mel Brooks retrospective, it was to recover old memories of his classic Blazing Saddles.  Another reason why It’s Good to Be the King is a useful look back at Brooks’ filmography is that it allows audiences to see how the filmmaker’s sense of humour has aged.

Unfortunately, Robin Hood: Men in Tights isn’t exactly a fond way to remember Mel Brooks’ signature silliness.  His love for cinema and poking fun at hackneyed genre beats hasn’t left, but his ability to pace and construct a scene soured in this ode to swashbuckling action/adventures.

In older comedies like Blazing Saddles and even Spaceballs, Brooks was able to transition from each joke effortlessly.  Movie goers sometimes missed punchlines because they were laughing so hard.  It was a quality that made Brooks’ films re-watchable.  In Robin Hood: Men in Tights, the actors wait for the laugh, then wait longer.  Plenty of laughs are to be had, but don’t be surprised if their trailing finales leave you feeling impatient. Continue reading

The Decent One

By: Addison WylieTheDecentOneposter

“Pre-invested interest…pre-invested interest.  What are you doing?  Do you have pre-invested interest?”  Those words were ghostly floating around in my head as I tried to throw myself into The Decent One, a new documentary from Vanessa Lapa.

I wouldn’t consider myself a history buff, or even a history dabbler.  Honestly, I was never interested in history class nor could I memorize dates and names for crucial tests.  If my high school teacher knew I was reviewing a documentary about Heinrich Himmler and his lost diary entries, he would probably get a good chuckle out of my pain.

But, as a film critic, you have to watch movies of all walks.  And, every now and then, a historical movie comes along that engrosses me with a remarkable true story.  This time last year, movie goers received a movie based on similar subject matter titled Nicky’s Family.  You couldn’t pull me away from that fantastic documentary. Continue reading

CrowdFUNding: ‘Deep Shock’ and ‘The Date’

Screen shot 2014-12-09 at 12.49.43 AM

By: Addison Wylie

Back when I was writing for Film Army, I would occasionally get requests from filmmakers to review their short films.  Davide Melini and Rob Comeau were two of those people, and CrowdFUNding has reunited me with them.

Melini – an Italian filmmaker with a fascination for  faith – and Comeau – a Canadian moviemaker with an eye for style – strike different chords with their work.  It’s awesome to see these two haven’t stopped thinking of the next project, and are willing to give crowdfunding a chance to accumulate a budget for their latest tale.

First, let’s focus on Davide Melini’s campaign for Deep Shock - a return to Italian giallo: Continue reading

Antarctica: A Year on Ice

By: Addison WylieAntarcticaPoster

Anthony Powell was finding it impossible explaining to others what Antarctic life is really like.  For someone who has spent extended time in the chilly climate, it was truly a daunting task trying to find the right words to describe the torrential winds and the degree of cabin fever.

Over the next ten years, Powell has made it his quest to create the ultimate tell-all about Antarctica.  He built equipment that could sustain extreme cold, found the correct cameras, and exercised patience and discipline to capture breathtaking time lapse sequences.  The result is Antarctica: A Year on Ice, and it’s absolutely incredible.

Powell is right.  After experiencing his footage, you can’t get a feel for the frigid environment through the spoken word.  You have to see nature take its course.  We watch icebergs formate and clouds swirl together as if we’re watching an art canvas come to life.  The choice to use lots of time lapse footage is wise since showing pictures of the quiet environments wouldn’t do either the film or Antarctica justice.  The scenes always have a flow to them, which draws our eyes to the gradual Arctic change. Continue reading


By: Addison WylieNightcrawlerPoster

The nightlife throbs in Nightcrawler.  When the streets are sparse and the air is humid, there’s an electricity in the air.  Lou Bloom is a lonely guy who lives off of it.

We don’t know much about Jake Gyllenhaal’s lonely Lou.  By the end credits, we still don’t know a heck of a lot about him – it’s exactly the point.

The film’s title very much fits Bloom’s personality as someone who blends into the darkness, and lurks around for contact.  He’s constantly asking others for job opportunities, and the way he articulates each request shows he’s been rehearsing. Continue reading

A Merry Friggin’ Christmas

By: Addison WylieMFCposter

I’ve seen good Christmas movies and I’ve seen bad Christmas movies.  But, outside of those schmaltzy TV movies that play in syndication around the holidays, I don’t think I’ve seen a Christmas movie as strange as A Merry Friggin’ Christmas.  I would say this means Tristram Shapeero’s film is in a league of its own, but that’d be giving the movie too much credit.

A Merry Friggin’ Christmas has been labeled as a comedy, but even that’s a stretch.  Screenwriter Michael Brown thinks he has jokes when really he has a jumble of ideas that could contribute to setting up a joke.  The problem is he doesn’t build up.  It’s like if Wile E. Coyote bought a bunch of Acme dynamite and instead of supplying a trap and igniting the fuse, he cut out the fuss and ran off a cliff anyways.

Take the premise, for instance.  Boyd Mitchler (played by Joel McHale) has had a crappy childhood under the guidance of his off-colour father Mitch (played by the late Robin Williams) who did nothing to play along with any Christmas games.  He admits Santa is a sham.  To overcompensate, Boyd does everything he can to maintain his son’s holiday innocence. Continue reading


By: Addison WylieCopenhagen Poster

Copenhagen is bound to be compared to Lost in Translation or Cairo Time.  A young man (William played by Game of Thrones’ Gethin Anthony) embarks on foreign travels and runs into a young woman (Effy played by Frederikke Dahl Hansen) who becomes very interested in the man’s personal journey.  They drink in the scenery, taste the culture, and slowly develop something that’s more than a friendship.  However, complications arise – as they do on Eurotrips.

I touch upon the story similarities because I would much rather face how the film is achingly familiar before I address what filmmaker Mark Raso does so originally well.

Before the romantic link is introduced, William and Effy appear annoyed with each other.  Effy is a freewheeler, but stops at filling in all of the Indie Pixie requirements, and William is boastfully testy.  I believe he even calls Effy an idiot the first time they meet after she accidentally spills coffee on his important document. Continue reading

Stage Fright

By: Addison WylieStageFrightposter

Stage Fright is a spirited stab to revive the musical genre through comedy and horror.  And thankfully, Jerome Sable’s game attempt at directing such a film satisfies his audience.  Call it a yuk-yuck sort of flick.

If a filmmaker isn’t working with cartoons or with Disney, it’s a daunting task for someone to make a musical from scratch.  Musicals are – sadly – a tough sell in this day and age.  Even if the filmmaker loves musicals themselves, elaborating the numbers to work on a silver screen while ducking corny traps is a challenge in itself.  For that, Sable at least gains our appreciation.  If Stage Fright was a failure, movie goers could at least admire his perseverance.  Hell, haters of Repo! The Genetic Opera can look at Darren Lynn Bousman and at least give him “props”.

Stage Fright isn’t a failure though, and that’s where Sable punches through the stratosphere of doubt.  His film is throughly enjoyable and makes great use out of amusing melodies (written by him and Eli Battalion). Continue reading