The best thing about Hobbs & Shaw, the first feature-length spin-off in the Fast & Furious series, is that anyone can watch it. It does a good job standing on its own legs and distancing itself from its popular franchise; allowing everyone to pick up on the same page. But perhaps in an attempt to give its spin-off series a safe start, Hobbs & Shaw is as typical as action movies come – Hollywood buys…
Articles by Addison Wylie
Patricia Marcoccia’s documentary The Rise of Jordan Peterson chronicles just *that*: the increased interest around the University of Toronto psychology professor, leading to his worldwide notoriety and success of his best-seller 12 Rules For Life. But while the movie does a good job bringing uninformed viewers up to speed on the popularity and controversy of Peterson, it doesn’t add much else to the conversation. The movie is just, kind of, “there”.
Luce is the type of small-scale drama audiences haven’t seen in a while – it’s such a satisfying reunion.
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.
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.