The scandal at the centre of Britain’s dark comedy Wicked Little Letters – mail addressed from an anonymous source that uses risqué language – seems petty in comparison to the waves of crime procedurals at-home audiences educate themselves on weekly. But as naïve as the crime may appear to be, the controversy spoke to the times and ignited much needed awareness around inequality.
Written and directed by Chris Green (Strangeways Here We Come), The Pebble and the Boy is a sweet, quirky coming-of-age story that is as much a celebration of mod culture as it is a story of grief and growing up.
By: Trevor Chartrand Fisherman’s Friends is a charming little movie that celebrates the strength of a close community, shining its spotlight on a gang of quirky singing fisherman from Port Isaac, UK. Unlike the throat lozenge brand that shares this same title, this film goes down smooth and easy – and it won’t leave a bad taste in your mouth.
Military Wives has been tailor-made to be a crowd-pleaser. The ingredients are there: the leading characters have an entertaining dynamic that plays on their opposite personalities, they lead a team of underdogs, nostalgic pop tunes are worshipped amongst the film’s kind-hearted humour, a strong patriotic backbone holds up a story that’s been loosely based on real events. As much as it bugs me that the filmmakers believe they’ve cracked the code to pleasing general audiences…
Writer/director Michael Winterbottom and actor Steve Coogan have collaborated before in biopics (24 Hour Party People, The Look of Love) and straightforward comedies (Tristram Shandy: A Cock and Bull Story, The Trip franchise), but they haven’t tackled a movie like Greed. Greed binds those previously mentioned genres into a potently bitter, satirical tragicomedy – a fitting playground for Winterbottom and Coogan.
Jennifer Saunders and Joanna Lumley return as Edina Monsoon and Patsy Stone in the film adaptation of the popular UK sitcom Absolutely Fabulous.
British filmmaker Philip Ridley’s The Reflecting Skin hasn’t screened in Toronto since its Canadian premiere at TIFF in 1990. Given its vibrant formalism and unconventional approach to genre, Ridley’s first feature simply may have been unable to find a broader audience. However, the film works well for cult film audiences.
By: Trevor Jeffery In 1978, John (Elliot James Langridge) is a lonely English youth with a penchant for vandalism. He goes from creepily shy to dance machine after meeting cool guy Matt (Josh Whitehouse) and being introduced to the sounds of American soul music. And speed. Lots and lots of speed. The two bond quickly over records and dancing. John ditches his good boy life, rudely telling his parents and teacher to go elsewhere, and…
Monty Python: The Meaning of Life (DIR. Roger Graef, James Rogan) By: Addison Wylie If Monty Python Live (Mostly) was the comedy troupe’s last hurrah, Monty Python: The Meaning of Life is their congratulatory curtain call and encore. It goes without saying that Roger Graef and James Rogan’s film is essential viewing for any Monty Python fan, or anyone who caught their live show. This documentary provides audiences with alternate angles, exclusive behind-the-scenes tomfoolery, and…
By: Addison Wylie North Americans have Will Ferrel’s Ron Burgundy, an on-camera anchorman who’s self-centred arrogance has him chewing down on his own foot often. In Europe, the Brits have Steve Coogan’s Alan Partridge. Partridge is an egotistical radio personality obsessed with a celebrity image and a winning smile. Where Burgundy can read on screen as a pompous jerk with a heart of gold steeped in spoof misogyny, Partridge is more endearing. He always finds…