Austin Found is yet another case where the trailer sells the audience on a different kind of movie. In two-and-a-half minutes, the film is presented as a foolish dark romp featuring incompetent criminals. At 100 minutes, it’s warped southern goodness that’s tonally confused and ends in irony.
Articles by Addison Wylie
Crackle’s Fourth of July comedy Mad Families is a fart in the wind. While that reads as a low blow, I have a feeling the immature filmmakers will actually take that in stride.
The ReelHeART International Film & Screenplay Festival is currently underway until Saturday, July 8 featuring events all over the city of Toronto. I’ve seen two of this year’s selected documentaries and while these films belong in separate categories, both have a comparable criticism.
Nowhere To Hide portrays war-torn life through curious interviews and on-the-fly videography. The doc’s results are unnerving and scary, but essential when understanding a culture who were rediscovering themselves.
The craft of brilliant costume designers and make-up artists can transform the most recognizable actors into strangers. Such is the case for Manifesto, a one-woman-show featuring two-time Academy Award winner Cate Blanchett portraying 13 different roles. Of course, the production is also lucky to have one of the greatest living actors at the forefront. However, what Manifesto also displays is that sometimes the best artists overshoot their target.
Canada turns 150-years-old on Saturday, July 1, and film aficionados have been given two homegrown films to anticipate this historic birthday.
Shimmer Lake is Coen Brothers-lite, yet it aspires to be a film worthy enough to stand beside those famous quirky noirs from the Academy-Award winners. That would require Oren Uziel’s movie to be outrageous, which it isn’t. An unfortunate discovery considering the leads are terrific comedic actors.
Nobody Speak: Trials of the Free Press is a balanced documentary about what has inspired the current state of journalism.
Tyler Perry apologists may find pleasurable qualities in Sergio Navarretta’s The Colossal Failure of the Modern Relationship. Then again, even those movie goers have seen this sort of romantic peril too many times by now (the Why Did I Get Married? series).
The Bad Batch is a gnarly postmodern western.