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.
Big Time does a good job acknowledging the genius of Danish architect Bjarke Ingels, even if the documentary lacks modesty. However, I felt distance between myself and Ingels, and director Kaspar Astrup Schröder wasn’t doing anything to mend this gap.
Faces Places has more charm in a single frame than most movies carry in an-hour-and-a-half. For that quality alone, it’s amazing.
Another WolfCop is a fury of fun, and this is coming from someone who hated the first movie. Talk about a switcheroo.
By: Jessica Goddard When you first hear the plot of Wexford Plaza, you think you’ve probably seen this movie before or know exactly what its angle will be. But you haven’t, and you don’t. This 80-minute-long film has everything: humour, relatability, great pacing, precise and controlled energy, and a thoughtful commentary on the reality of our times.
Audiences were recently subjected to a tasteless dark comedy about understanding death called Considering Love & Other Magic. Thankfully, movie goers can rebound with Suck It Up, another Canadian indie about comprehending grief that actually sticks its landing thanks to fantastic performances and Jordan Canning’s thoughtful direction.
By: Trevor Chartrand As a film that explores the creative process, Ryan M. Andrews’ Art of Obsession fails to bring much originality to the table. This slow-paced, predictable little story takes itself too seriously, grasping aimlessly at faux-philosophical musings all along the way. The film is an unfortunate mix of unconvincing plot, passionless performances, and a non-existent visual style. It’s the kind of film I can still enjoy, however with a more ironic appreciation than…