After touring the festival circuit and sweeping the hearts of many movie goers, Tulipani – Love, Honour and a Bicycle finally makes its way into theatres to claim more adoration from audiences.
The Netflix Gods heard my distain for the streaming service’s teen flick hit To All the Boys I’ve Loved Before, and they’ve gifted me a charming high school comedy titled Sierra Burgess Is a Loser as an apologetic gesture. Call it coincidental timing, I call it wishful thinking.
Filmmaker Zack Russell and actor Kayla Lorette team up for another surreal short film with 7A.
Chilly character drama Cardinals revolves around a trauma that ends in death and a prison sentencing. And while it appears justice has been served, interest flares up when suspicions drudge up the past.
Canadian indie filmmaker Ross Munro clings to the past in A Legacy of Whining.
Playing like a more intellectual and more comprehensible Pain & Gain, Bart Layton’s American Animals is a clever adaptation of a true crime involving young unconventional thieves who fear their lives are aimless. They decide to be proactive by organizing a score that would later be known as one of the most audacious heists in U.S history.
As someone who – sheepishly – isn’t qualified to compare this remake to its original source material (the 1973 classic starring Steve McQueen and the books written by Henri Charrière), I can tell you that as a standalone prison drama, Papillon works very well.
Madeline’s Madeline is a one-of-a-kind. I can’t remember the last time a movie was this uncomfortable yet so rewarding and fulfilling.
Some of this year’s most endearing performances get buried by Andrew Bujalski’s faulty filmmaking in Support the Girls.
Toronto filmmaker Sofia Bohdanowicz travels to Paris, France to tentatively live with a colleague’s mother, Juliane Sellam, in the documentary Maison du Bonheur, a boring film that never lives up to its experimental ambition.