By: Jessica Goddard Woody Allen’s Wonder Wheel is colourful, melodramatic, deliciously tacky cinematic theatre driven by an intriguing premise and infused with refreshing nostalgia. It’s visually delightful, and the quirky setting and quirkier characters sustain curiosity even if those characters don’t feel totally real.
By: Nick van Dinther There are so many wonderful and creative upstart filmmakers putting out fantastic work. Whether they’re film students or people with a true passion for the industry, they do their best to fund an idea, bring it to life, and share it with the world. When they decide to release the project for profit however, it needs to meet a certain standard. Brownwell Entertainment’s Friends Don’t Let Friends, a horror/thriller about covering…
Stephanie Di Giusto’s The Dancer is one of the more interesting biopics in recent memory. It’s by the book in terms of the genre’s formula and narrative structure but Di Giusto finds another way to look at her film’s biographical material.
Radius has been inspired by The Twilight Zone but it pales in comparison; sometimes, even literally.
Sweet Virginia is an ant hill of a movie – if you look underneath its still surface, you’ll find many working parts. There are many strengths, but director Jamie Dagg, screenwriters Benjamin and Paul China, and the phenomenal cast do a very good job at subtlety concealing them; allowing the film to wash over the audience from start to finish.
Big Time does a good job acknowledging the genius of Danish architect Bjarke Ingels, even if the documentary lacks modesty. However, I felt distance between myself and Ingels, and director Kaspar Astrup Schröder wasn’t doing anything to mend this gap.
Faces Places has more charm in a single frame than most movies carry in an-hour-and-a-half. For that quality alone, it’s amazing.
Another WolfCop is a fury of fun, and this is coming from someone who hated the first movie. Talk about a switcheroo.