The film adaptation of Dear Evan Hansen is a solid gateway towards introducing movie goers, like me, to the award-winning stage production its adapted from. The movie creates curiosity and builds interest for those who have been wanting to see it and missed out on the opportunity to do so.
Though it doesn’t break new ground, Hudson is a sweet and satisfying comedy about grief and forgiveness.
Films are rewarded when they think outside the box and resist their genre’s conventions. But sometimes, a movie can remind us of how narrative prerequisites can be misinterpreted as cliché by indifferent filmmakers.
Written by Jenny Lester and directed by Amy Northup, What She Said dubs itself a “feminist dark comedy” – an apt description for a film that combines dry humour with a frank examination of sexual assault and its consequences.
Much like an expert poker player, writer/director Paul Schrader underplays The Card Counter. Instead of a flashier approach that boasts with style, Schrader captures the subdued focus and routine of a gambling sub-culture and its players. One of those players being William Tell (Oscar Isaac), a former serviceman who invests in high-rolling card games to keep himself distracted. It’s an efficient, time-consuming past-time that prevents William from possibly falling back into bad habits.
By: Trevor Chartrand Canadian filmmaker Virginia Abramovich makes her feature film debut with Between Waves, a captivating (albeit heavy-handed) exploration of mental illness and grief, framed through the sci-fi lens of inter-dimensional travel.
9/11: Inside the President’s War Room is a candid documentary meant to commemorate the events of September 11th, 2001 and serve as essential viewing for its 20th anniversary. While the film delivers on its candid nature, featuring exclusive photographs and interviews with past White House officials including former president George W. Bush, Adam Wishart’s doc is not as considerate as it could be.
Camp is notoriously tricky to pin down, and even tricker to execute. As Susan Sontag notes in her 1964 essay “Notes on ‘Camp’”, “[o]ne must distinguish between naïve and deliberate Camp. Pure camp is always naïve. Camp which knows itself to be Camp (“camping”) is usually less satisfying”. Sontag suggests that the best, most satisfying examples of camp are those that are trying to be serious. When something tries to be camp, it usually fails….
By: Trevor Chartrand Director Bassam Tariq and actor Riz Ahmed (Nightcrawler, Sound of Metal) are the co-writers of BBC Films’ Mogul Mowgli, and together they explore the concepts of family, tradition, and cultural identity/responsibility with their recent collaboration.
Written and directed by Nicole Dorsey, Black Conflux gets many things right. Aesthetically, it is a compelling film that makes use of visual motifs to link the lives of two very different characters.