It’s a bleak future that Eren Özkural’s Run Away With Me presents. Abraham (Kye Loren) is released from prison to a familiar yet dystopian existence. With no real way to integrate back into society, he finds work from a mysterious and blatantly untrustworthy man (Bill Hutchens), and also meets a peculiarly familiar woman (Rosie MacPherson) along the way who brings his spotted past into a collision with his present, and humanity’s future.
I’ve been patient and forgiving with filmmaker Seth Gordon (who began his career with 2007’s acclaimed arcade doc The King of Kong) because I can see he’s slowly amounting to be a dependable director. Despite the abysmal and mean comedy Identity Thief, he’s usually able to drum up a lot of laughs with small casts (Four Christmases, Horrible Bosses, TV’s The Goldbergs). I suppose he’s been itching to branch out, but Baywatch was the wrong way…
Justin McConnell is a filmmaker who uses tension marvellously, usually either channeled through shadowy environments or visceral fears. In his latest film Broken Mile, he breaks personal ground by using time to intensely disorient his audience.
By: Nick Ferwerda How do you take one of the cheesiest television shows of all time and turn it into a solid standalone movie? Believe it or not, but Power Rangers does a commendable job at doing so.
Blood, Sand and Gold is touted as a low-budget blockbuster. The globetrotting adventure was made for $258,000 in less than two months, and it doesn’t show. The film isn’t modest (lavish scenery and accessories hog the screen), but the production does a commendable job disguising itself. In spite of cutting costs, Blood, Sand and Gold is still 24 karat schlock.
By: Nick Ferwerda When John Wick was first released in 2014, it blew everyone away and turned into an instant action hit. Since sequels are often known for playing the same tune in a predictable key, you can understand my worrisome caution going into John Wick: Chapter 2. I’m happy to report that it does not disappoint.
The trailer for Netflix’s Take the 10 does no favours for this surprising flick. It plays up slapstick yucks and crude dialogue, and, worst of all, it believes its the first movie to incorporate violent thugs in broad comedy – it’s detrimental advertising. Luckily, writer/director/star Chester Tam has a trick up his sleeve.
Jason Statham has proven himself as an action star, but I still believe his performances are only as good as the filmmaker he’s been paired with. In the case of Mechanic: Resurrection, Statham is jumping through the same hoops, but he’s doing so in a way that mirrors the entertaining ridiculousness director Dennis Gansel sets up.
I impulsively summarized True Memoirs of an International Assassin on Twitter by typing, “really wish True Memoirs of an International Assassin used its strengths to subvert the action genre. Still not bad, just indistinguishable”.
After a long, ten-year stint in filmmaker jail, Mel Gibson has returned with Hacksaw Ridge: a gruesomely violent WWII biopic about Desmond Doss, a medic and devout Seventh Day Adventist, who saved the lives of over 75 soldiers during the Battle of Okinawa without killing a single enemy combatant. Hacksaw Ridge features Gibson’s typical heavy-handed religious symbolism to great effect here, and serves as an unnerving contrast to the graphic violence in the film’s third…