Allow me to preface this by disclosing my biases: I have a strong love for Canadian cinema and coming-of-age stories, and I truly believe that Canada perfected the coming-of-age story. That being said, Philippe Lesage’s Les Démons is a fitting addition to this obscure canon.
Miguel Gomes’ Arabian Nights trilogy is an interesting project if only because its tone is inconsistent without harming the films. In fact, that inconsistency is what makes this project often work.
What we have here is a patchy documentary that works to great effect in spurts.
One of the most unpleasant moviegoing experiences this year takes place far away from any movie theatre. It begins on Netflix, and ends in regret.
The Hateful Eight is, fittingly, Quentin Tarantino’s eighth film, and by far his weakest.
What if we were to meet with timeless movie couples who connected through dance? Would they still be dancing, or would they be reminiscing over how they moved people with their routines? For the Dirty Dancing/Footloose crowd, the final stretch of 2015 offers German Kral’s Our Last Tango – the real life story of this very scenario.
Al Purdy Was Here has a lot of strengths going for it including its peaceful camerawork with editing to match, and an enigmatic subject filled with so much knowledge and pathos. But, to me, the most inspiring elements of Brian D. Johnson’s documentary is how illustrative it is with influence.
Based on Pierre Deschamps documentary Noma: My Perfect Storm, I couldn’t work in chef René Redzepi’s kitchen. What begins as a foodie’s wonderland with non-stop decadent dishes soon turns unpalatable for the viewer.
