Intended as a sequel, of sorts, to Braveheart, Robert the Bruce sees Angus MacFadyen (Braveheart, Alive) reprise his role as the titular Scottish king. Unfortunately, this is one of those movies with all the right ingredients – but no spark.
It was both surprising and unsurprising to find out director François Girard was attached to The Song of Names. By going into the movie blind, so much of Girard’s film reminded me of the Oscar winning drama The Red Violin. This discovery that both films were directed by the same person made sense, but I didn’t expect The Song of Names to pale so much in comparison.
Biopics don’t get more standard than Seberg. The film is watchable and efficient to an extent, but it also feels manufactured by a faulty machine.
Céline Sciamma’s highly acclaimed drama Portrait of a Lady on Fire is visceral filmmaking at its most eloquent. So much of this period piece hinges on textures, sights, and sounds to make the audience believe that we’re living through someone’s romantic memories.
By: Trevor Chartrand While epic in scale with an ambitious, decade-spanning story, The Traitor is ultimately a disappointing, bloated film. This movie sets out to tell the gritty true story of the Italian mafia’s first police informant, Tommaso Buscetta (Pierfrancesco Favino), however, this lengthy picture gets bogged down with an overstuffed plot. Even with such rich and captivating source material, the film is ultimately uninteresting due to its failure to satisfy in the ‘audience accessibility’ category.
Depending on who you ask, Canadian cinema may well be celebrating its 100th year this year and, despite the general dismay that it continues to attract from some, it is still very much able to be as innovative as any other national cinema. Why the history lesson? Because that may be the best way to introduce Matthew Rankin’s The Twentieth Century, at once a great addition to the Canadian cinematic canon and a bitter poisonous…
Filmmaker Nick Broomfield recounts his memories of Marianne Ihlen and singer/songwriter Leonard Cohen in his documentary Marianne & Leonard: Words of Love.
Wild Nights with Emily didn’t “click” with me but, then again, I feel like I’m “missing” something.
By: Jolie Featherstone Dome Karukoski’s Tolkien is a polished, but reserved, Edwardian period piece that explores the early life of J. R. R. Tolkien, famed author of The Lord of the Rings. From a childhood fraught with loss to serving in in the First World War as a young adult, the film draws connections between Tolkien’s real-life experiences and the lore and legends he created in his works.
The White Crow, written by Oscar nominee David Hare (The Reader) and directed by Harry Potter actor Ralph Fiennes, goes against the usual conventions of a biopic.