Permission is dressed-up old news. The film looks good and the cast is hip, but the lengths the film will go to explore provocative themes within a relationship are much more common than the film believes.
Spettacolo is a reminder that documentaries can also be a routine.
Great Great Great kicks off with a disconnected exchange following huge news. Corporate worker Lauren (Sarah Kolasky) is told about her parents’ divorce by her mother. Mom is aloof – almost to a numbing degree – but Lauren is shook up. Her long-term relationship with Tom (Suck It Up’s Dan Beirne) is satisfyingly comfortable, but she suddenly fears of a future of boredom. A flash-from-the-past in the form of a new co-worker/old friend (Richard Clarkin) triggers Lauren to…
Let There Be Light is a gratuitous entry into the popular faith-based sub-genre, but it acknowledges some interesting albeit heavy-handed ideas about being open to change.
I don’t know what type of Oscar nominations I prefer: a list of predictable winners, or names and films that are constantly in a status shift. Judging by all of the different winners in recent award ceremonies, it’s clear the 90th annual Oscars fall in the latter category. But, again, I’m stumped over if I actually enjoy this much variety.
Why can’t George Clooney make a movie that’s “simple”? I don’t mean “simple” as in unremarkable quality, but “simple” as in accessible entertainment.
It makes sense for David Wain to direct a biopic about Doug Kenney. The absurdist director of Wet Hot American Summer, Role Models, and Wanderlust works with a special brand of off-beat comedy as Kenney’s National Lampoon brainchild did. Even though the biopic genre is new ground for Wain, A Futile and Stupid Gesture is still a comedy cut from familiar cloth.
2017 was a strong year for horror and fantasy, but it was still a year that offered plenty of problematic films. Read what most of the critics at Wylie Writes considered the stinkers of 2017, and don’t forget to click highlighted titles for reviews.
By: Jessica Goddard Wexford Plaza was one of the best films of 2017, and it was also a finalist for the Toronto Film Critic Association’s award for Best Canadian Film. As the film celebrates its home release on digital platforms, I reached out to writer/director Joyce Wong to ask about her feature debut, its universal story, and her personal connection to the film.