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.
I praise directors, writers, and actors for being honest, but Michael Mailer’s drama Blind reminded me of how honesty can actually damage a movie.
I just had the weirdest dream…