Reviewing Rust is tough when all you want to do is write a eulogy for Halyna Hutchins, the cinematographer who was killed on set by a functioning gun serving as a prop. While that approach to writing about Rust may sound cliché, it’s also the only way to acknowledge the sensational camerawork in Joel Souza’s western (which Hutchins shares with their replacement cinematographer Bianca Cline [Marcel the Shell with Shoes On]). As silhouettes drape across the…
Blame it on naivety or over-confidence, but I thought I was going to be okay watching The Boss Baby: Family Business without watching The Boss Baby. Somewhere within the first act, I surrendered and desperately looked online for a rundown of the first movie. However, even though I was brought up to speed and given an idea of how bizarre The Boss Baby was, I still wasn’t prepared for how relentlessly loud and strange this…
I’ll be frank: Chick Fight is a disappointment. With a cast that boasts big names like Alec Baldwin, Fortune Feimster, and Bella Thorne, I expected more from this female-lead action-comedy.
By: Trevor Chartrand Framing John DeLorean is a unique documentary about the man behind one of most iconic car designs in automobile history. Much like John DeLorean himself, the film takes some big risks with an interesting and flashy approach. Many of DeLorean’s risks did not pay off, and the same can be said for some things in this film.
Fred Wolf and Peter Gaulke have a calling for slacker comedy, though their sense of humour hasn’t been well-received. They collaborated on Happy Madison’s Strange Wilderness, and while that film is pitiful, it’s also exactly what it set out to be – a scrappy stoner comedy conceived by a crew of people who must’ve been on heavy hallucinogens during the making-of. In that sense, it finds success as a guilty pleasure that willingly goes in some weird…
In Canada, the only film that dares to go toe-to-toe with Marvel Studios’ Avengers: Endgame is a limber, well-meaning flick named The Public, a star-studded drama written and directed by Emilio Estevez. If only it was a little bit more mature, then it would’ve been the right pick to counter program against the blockbuster juggernaut.
Eugene Jarecki takes to the road in Elvis Presley’s 1963 Rolls Royce in The King. The documentary’s narrative itself is like Jarecki’s luggage – crammed-full and seeping out of the zippers. However, this stuffed film is interesting in ways thought-provoking open discussions can be.
