By: Trevor Chartrand Boots Riley’s directorial debut is undoubtedly a memorable satiric comedy, despite being uneven in some places. Sorry to Bother You is a tad ambitious – with plenty of high-concept ideas crammed into its runtime, the overall pacing and consistency of the film suffers a bit as a result. But then again, it’s nice to see a film with too much to say, rather than something so vapid that it says nothing.
I understand why people would be frightened by Who’s Watching Oliver (especially young women), but how come the production felt the need to squander their potential on such junky thrills?
By: Graeme Howard When a live concert film is done right, it can create a viewing experience that is wholly unique to the live counterpart. Muse: Drones World Tour is an exciting live concert experience on the big screen, providing a non-stop hour-and-a-half of music and sensory overload. That being said, there are a few minor criticisms that hold this live concert experience from a wider appeal to the masses as opposed to being just fan…
By: Jessica Goddard A well-paced timeline of the 1990s peace negotiations in the Middle East, The Oslo Diaries skillfully articulates the sense of both hope and skepticism in the period. Directed by Mor Loushy and Daniel Sivan, the filmmakers use diary excerpts, historical footage, news clips, and participant commentary to paint a picture of simultaneous optimism and doubt surrounding the Oslo Accords.
By: Jessica Goddard Architectural opulence meets pop culture royalty in Matthew Miele’s Always at The Carlyle, a documentary about the literal ins-and-outs of the discreetly famous 88-year-old Upper East Side Manhattan hotel.
This season, so far, has been unpredictable in terms of audience approval.
With 22 Chaser, director Rafal Sokolowski gives Toronto a vibrancy and grit usually associated with big American cities. This edgy vision efficiently (and stylistically) projects the aggressive nature between the film’s competitive characters, who are trying hard to earn their keep.
By: Nick van Dinther In Boundaries, director Shana Feste tells a story that’s loosely based on her relationship with her father and their shared life experience; which makes it surprising that one of the movie’s biggest setbacks is how cliché it is, and how it lacks realism.
I can’t tell you much about Terminal because a.) talking about its multiple twists would allude to the degree of deception that is continuously at work in the film and b.) the movie is often so incomprehensible, you can’t make heads or tails of it.
If you found May’s Revenge to be a bit “much”, you may prefer the nuanced simplicity of Marlina the Murderer in Four Acts.