Articles by Shahbaz Khayambashi

Reviews

The Price of Everything

The central question at the core of Nathaniel Kahn’s The Price of Everything is how importantly, or inherently, is money connected to art?  The answer reveals itself through the understanding of artists, historians and dealers, with that importance going higher as monetary power does.  In other words, this documentary ultimately makes two points: art is inherently financial, and capitalism will slowly but surely cause the demise of it.

Reviews

Green Book

There is a certain sort of film that defies classification.  The quick description is the sort of film that is not perfect by any stretch of the term, but which contains just a little something that manages to hit on a collective pathos in the audience.  Those films release a positive feeling into the audience that can actually be felt when one is in such an environment.  Green Book is just such a film: it…

Reviews

Overlord

A J.J. Abrams production is like the latest hipster eatery: they take a lot of effort to put together and people apparently like them, but once you have experienced one, it becomes apparent just how incredibly overrated they are.  This is why I’m always so wary of these productions, and why his latest produced feature has been such a surprise – Overlord, directed by Julius Avery, is actually enjoyable!

Festival Coverage

Toronto After Dark 2018: ‘I Am a Hero’ and ‘Satan’s Slaves’

I Am a Hero (DIR. Shinsuke Sato) I Am a Hero is long.   That is not often how a review will start, but that may be the most remarkable thing about this new zombie film from Japan – running at over two hours, it is needlessly long.  Otherwise, it doesn’t reinvent or make any new addition to the zombie mythos, it doesn’t have anything interesting to say, and it doesn’t really pick up until the third…

Festival Coverage

Toronto After Dark 2018: ‘Prey’ and ‘Robbery’

Prey (DIR. Dick Mass) Sometimes viewers are given the rare pleasure of experiencing a film that, by all intents and purposes, should be awful.  Whether because of its genre’s history or just a general sense of ridiculousness, these films need to be dead on arrival, but sometimes a film is way better than it has any right to be.  Dick Mass’ Prey, a film about a giant man-eating lion causing carnage in the streets of Amsterdam,…

Festival Coverage

Toronto After Dark 2018: ‘Prospect’ and ‘The Ranger’

Prospect (DIR. Chris Caldwell, Zeek Earl) First, we lived through “mumblecore”.  Then, we were subjected to “mumblegore”.  Now, it seems like the next logical step is to “mumblego” where no man has gone before.  Case in point: Chris Caldwell and Zeek Earl’s exercise in furious navel-gazing, Prospect, a film so enamored by its own cleverness that it manages to make its modest runtime seem endless.  A film whose total lack of direction in favour of world-building…

Festival Coverage

Toronto After Dark 2018: ‘I’ll Take Your Dead’ and ‘Mega Time Squad’

I’ll Take Your Dead (DIR. Chad Archibald) The multi-hyphen horror film is just a concept that is here to stay.  Despite everything being a hyphenated genre lately, very few films actually know how to do it well.  The issue is that these films are often so lost in their own muddled genres, that they forget to specialize in one.  Very rarely can someone pull off an actually balanced hyphenated genre film, leading to practical magic when…