Horror fodder like Friend Request tends to be dismissed based on its timely nature, which is really too bad. These digital age thrillers may borrow from other formulas (or other movies), but they certainly are not derivative. In the case of Friend Request, it owes a debt of gratitude to fellow social media flick Unfriended, but it fuses its modern premise of cyberstalking with revered lore and finds a good balance between “old” and “new”…
By: Trevor Chartrand Guillermo del Toro’s The Shape of Water is a masterfully crafted modern-day fairy tale. An incredible, romanticized take on the creature feature, director/co-writer del Toro seamlessly combines genre and visual style to bring us this beautifully bizarre morality tale.
Dim the Fluorescents is a fast and furious masterclass in deadpan comedy. Its filmmaker, Daniel Warth, knows this and doesn’t miss an opportunity to make an uncomfortably honest comment about creative communities, or portray convoluted art – no matter how ridiculous it is – as believable impassioned labours of love.
By: Nick van Dinther There are certain directors that have a specific style audiences can always identify – Quentin Tarantino, Wes Anderson, Tim Burton to name a few. Guillermo del Toro (The Devil’s Backbone, Pan’s Labyrinth) is surely a part of that crew. When it comes to The Shape of Water, del Toro’s style is out in full-force to bring us an unforgettable visual spectacle.
Directed, written, and produced by Finnish filmmaker Aki Kaurismäki (Le Havre, The Man Without a Past), The Other Side of Hope is a timely and oddly touching comedic drama that manages to combine artistry and humour with wry social commentary.
By: Jessica Goddard Woody Allen’s Wonder Wheel is colourful, melodramatic, deliciously tacky cinematic theatre driven by an intriguing premise and infused with refreshing nostalgia. It’s visually delightful, and the quirky setting and quirkier characters sustain curiosity even if those characters don’t feel totally real.
By: Nick van Dinther There are so many wonderful and creative upstart filmmakers putting out fantastic work. Whether they’re film students or people with a true passion for the industry, they do their best to fund an idea, bring it to life, and share it with the world. When they decide to release the project for profit however, it needs to meet a certain standard. Brownwell Entertainment’s Friends Don’t Let Friends, a horror/thriller about covering…
Stephanie Di Giusto’s The Dancer is one of the more interesting biopics in recent memory. It’s by the book in terms of the genre’s formula and narrative structure but Di Giusto finds another way to look at her film’s biographical material.
Radius has been inspired by The Twilight Zone but it pales in comparison; sometimes, even literally.
Sweet Virginia is an ant hill of a movie – if you look underneath its still surface, you’ll find many working parts. There are many strengths, but director Jamie Dagg, screenwriters Benjamin and Paul China, and the phenomenal cast do a very good job at subtlety concealing them; allowing the film to wash over the audience from start to finish.