Jasmin Mozaffari’s first feature length film is aptly named. Firecrackers is an explosive and mesmerizing journey that follows two teenage friends, Lou (Michaela Kurimsky) and Chantelle (Karena Evans), as they attempt to break free of their small town. Their plans to run away from it all are complicated by mundane jobs, poverty, abusive boyfriends, and drug-addicted parents.
Documentarian Rama Rau (The Market, League of Exotique Dancers) takes a break from documentary filmmaking to make Honey Bee, a coming-of-age drama for mature audiences.
An Audience of Chairs isn’t just one movie. This new film from Deanne Foley (Relative Happiness) based on Joan Clark’s novel of the same name appears to be a sombre Canadian drama that you prepare for by stuffing your pockets full of tissue. While it is a tear-jerker, it’s also a character drama, a romance, and a message film. And, surprisingly enough, Foley pulls off this trifecta.
Filmmakers Cristina Gallego and Ciro Guerra follow-up their Oscar nominated feature film Embrace of the Serpent with Birds of Passage, a sprawling drama about Columbian drug cartels. The story’s primary focus is Raphayet (José Acosta), an average bachelor who becomes involved with drug trafficking, gradually becoming a notorious name in the dangerous culture.
Nowhere is difficult to discuss without skimming spoilers, especially since the film deserves to stay a secret for new audiences. What I can safely share is that this thriller is comparable to last year’s winner Searching. But, while both movies are about a parent trying to find their missing child, each movie has its own efficient approach.
Comedienne Amy Schumer is at her best when she’s in unfamiliar waters and vocalizing about it. By being incredibly observant and quick-witted, she forms a unique and bold perspective that humorously addresses relatable hesitation. This transferable approach is why her film roles have worked for me as well (Trainwreck, Snatched, I Feel Pretty).
In the heart of Toronto’s entertainment district, high-end restaurants hold their own against competition and stress, or so we assume. This facade, however, becomes too much for Daniel, a well-versed chef with a bad reputation and unhealthy work ethic. Over the span of a day in Nose to Tail, Daniel’s life spins out of control as his attitude costs him his staff and his family, and possibly the last chance he’ll get in the business.
The selling point of For Love or Money is the outrageous premise that’s established well in the trailer. It offers a familiar dynamic, but is so suggestive towards the film’s comedic potential that viewers are naturally reeled in. If you enjoyed How to Lose a Guy in 10 Days or What Happens in Vegas, here’s a movie for you.
