Black Butterfly is practically a two-man show in the middle of the woods starring Antonio Banderas and Jonathan Rhys-Meyers. Banderas plays Paul, a writer who has isolated himself to forge forward on his latest draft. Rhys-Meyers plays Jack, a prickly drifter who creates anxiety for those around him. An altercation brings the pair together, leading to an unconventional bond over Paul’s writing. Jack’s visit, however, takes a sharp turn as the duo exchange power over heated…
Austin Found is yet another case where the trailer sells the audience on a different kind of movie. In two-and-a-half minutes, the film is presented as a foolish dark romp featuring incompetent criminals. At 100 minutes, it’s warped southern goodness that’s tonally confused and ends in irony.
Marion Cotillard is a talented actress whose career has seen a steady increase in forgettable dramas over the years. For every The Immigrant and Two Days, One Night, there’s a Rust and Bone and an It’s Only the End of the World (though, I confess, I like the latter film, but it is unquestionably Dolan’s weakest film). Nicole Garcia’s From the Land of the Moon, which was in competition at Cannes last year, is yet another…
By: Jessica Goddard Bong Joon-ho’s Okja is not only packed with insight, imagination, and action, but mesmerizing visual effects. While this movie bounces around tonally, it’s consistently engaging and gripping. There are moments of camp and farce and exaggeration (cough cough – Jake Gyllenhaal – cough) but they are fun and mostly harmless. The premise is well-conceived, and the frequent use of subtitles under Korean dialogue is never fatiguing.
Crackle’s Fourth of July comedy Mad Families is a fart in the wind. While that reads as a low blow, I have a feeling the immature filmmakers will actually take that in stride.
The ReelHeART International Film & Screenplay Festival is currently underway until Saturday, July 8 featuring events all over the city of Toronto. I’ve seen two of this year’s selected documentaries and while these films belong in separate categories, both have a comparable criticism.
Kumail Nanjiani (played by funnyman Kumail Nanjiani) is a Pakistani-American comedian who meets and falls in love with Emily (Zoe Kazan), a graduate student. Their relationship is already threatened by Kumail’s parents’ insistence that he marry a woman from a Pakistani family, when Emily becomes seriously ill. Written by Nanjiani (usually known for his co-star work in Mike and Dave Need Wedding Dates, Life as we Know It, and IFC’s Portlandia) and the actor’s wife Emily V. Gordon, The…
Nowhere To Hide portrays war-torn life through curious interviews and on-the-fly videography. The doc’s results are unnerving and scary, but essential when understanding a culture who were rediscovering themselves.
The craft of brilliant costume designers and make-up artists can transform the most recognizable actors into strangers. Such is the case for Manifesto, a one-woman-show featuring two-time Academy Award winner Cate Blanchett portraying 13 different roles. Of course, the production is also lucky to have one of the greatest living actors at the forefront. However, what Manifesto also displays is that sometimes the best artists overshoot their target.
Canada turns 150-years-old on Saturday, July 1, and film aficionados have been given two homegrown films to anticipate this historic birthday.