Using a narrative that gradually builds momentum through a series of hustles and surprises, Parasite is utterly unpredictable. It’s a memorable flick not only for its mind-bending story, but because director Bong Joon-ho (The Host , Snowpiercer, Okja) has reinvented the farce formula with this Palme d’Or award-winner.
Articles by Addison Wylie
Midsommar, the sophomore feature from Ari Aster (Hereditary), is a head-trip on multiple levels and a full flex of what cinema is capable of.
Corporate Animals is aggressively heartless, as if it’s in a competition to be the cruelest dark comedy. But in doing so, the film sacrifices itself and proves to audiences just how two-dimensional it really is.
At this year’s Toronto After Dark Film Festival (which is currently in full swing at the city’s Scotiabank Theatre), you won’t be able to shake Precious Chong’s wild performance in Zach Gayne’s Homewrecker. As Linda, Chong channels mousey and maniacal characteristics after she haphazardly kidnaps a new “friend” Michelle (Starry Eyes’ Alex Essoe). Chong is funny, but she’s careful not to exploit the character; allowing Essoe’s character to show empathy towards Linda under nerve-racking circumstances.
Greener Grass is a suburban social comedy dressed up as an irreverent weirdo. While it may paint itself into a corner by setting a high bar for itself, I loved being in its company nonetheless.
Mister America could be the “nichiest” project ever made and, yes, I’m including Kevin Smith’s upcoming Jay and Silent Bob Reboot. But more importantly, Mister America is the level of Trump era satire we’ve been waiting for.
Controversial director/screenwriter Roger Avary returns to the director’s chair with Lucky Day, his first commercial release since 2002’s The Rules of Attraction.
Primal Rage is a creature feature, but it’s light on what the film is selling. For a special effects artist making his directorial debut, writer/director Patrick Magee often forgets about his film’s central beast.
Adam Bolt’s Human Nature, a scientific documentary about the advancements in genetic cures, is an accessible and thought-provoking film.
Sometimes Always Never sets out to be quirky, but comes out dorky. It takes pride in its uneven nuances, gushy sentimentality, and jokes about Scrabble. What saves the mild-mannered movie to an extent, however, is how the awkwardness is (sort of) embraced through its humour.