Most filmmakers use sizzle reels to showcase their strengths and skills, but in the case of Michael Wong, he can simply use his short film The Story of 90 Coins to do the same thing.
Articles by Addison Wylie
After its US premiere in July, Wish Upon has finally made its way north. Unfortunately, it was’t screened for critics – no worries, it happens. I paid $7 to see Wish Upon and, let me tell you, it’s a pretty good $7 movie.
The Only Living Boy in New York, Marc Webb’s second film of the year after Gifted, is both a surprise and an expected move from the filmmaker.
Sundowners is an exceptional movie headlined by two unexceptional people – hey, their words. Not mine.
Death Note is a good movie, but it would’ve made a great miniseries. Netflix’s fast-track adaptation of Tsugumi Ôba’s popular manga series is light on characterization, with a troublesome lack of introduction by screenwriters Jeremy Slater (The Lazarus Effect), Charley Parlapanides and Vlas Parlapanides (the Parlapanides’ wrote Immortals).
Le Ride is proof of the intrepid courage and exhausting circumstances that happen during long cross-country treks. The documentary is also proof that writer/director/star Phil Keoghan can walk the walk and talk the talk.
There’s not much that You Get Me actually “gets” other than a few unintentional, campy laughs.
Bill Watterson’s Dave Made a Maze will receive comparisons to Dan Harmon’s TV show Community. Their quirky in similar ways, the characters are alike, and there’s an uncanny connection to pop culture in both. Most importantly, just like in Harmon’s cult hit, Dave Made a Maze is a story of misfits trying to define their self-worth while “adulting” by way of their own arrested development.
Derivative scares are surrounded by boring filler and exposition in Phoenix Forgotten, a feature debut by graphic artist Justin Barber that’s also been stupefyingly blessed by producer Ridley Scott (Alien, Blade Runner, The Martian).
Menashe acts as both a faithful slice of life of ultra-Orthodox Judaism and an effective character drama from the perspective of a widower. The resonance is thin though, leaving the audience feeling lukewarm towards Joshua Z Weinstein’s otherwise efficient movie.