Documentarian Rama Rau (The Market, League of Exotique Dancers) takes a break from documentary filmmaking to make Honey Bee, a coming-of-age drama for mature audiences.
Canadian Film Fest
Nowhere is difficult to discuss without skimming spoilers, especially since the film deserves to stay a secret for new audiences. What I can safely share is that this thriller is comparable to last year’s winner Searching. But, while both movies are about a parent trying to find their missing child, each movie has its own efficient approach.
In the heart of Toronto’s entertainment district, high-end restaurants hold their own against competition and stress, or so we assume. This facade, however, becomes too much for Daniel, a well-versed chef with a bad reputation and unhealthy work ethic. Over the span of a day in Nose to Tail, Daniel’s life spins out of control as his attitude costs him his staff and his family, and possibly the last chance he’ll get in the business.
Boogie Nights meets The Wrestler in Marshall Axani’s The Cannon. Although those are some fairly daunting examples to follow, The Cannon – for the most part – does a decent job of keeping up.
In The Go-Getters, Jeremy LaLonde’s first foray into the twisted genre of dark comedies, audiences are convinced that misery really does love company; especially in the metropolis of Toronto.
Certain topics pertaining to sex and intimacy aren’t really taboo anymore. We’ve had an influx of orgy comedies (A Good Old Fashioned Orgy, How to Plan an Orgy in a Small Town), and filmmakers have also captured stripped-down dating culture in the current digital age (Jackie Boy, as well as with glossier mainstream movies). Because of these advancements in storytelling, Jon E. Cohen’s underwhelming feature film debut A Swingers Weekend feels a few years too late.
As a film critic, you try your hardest not to be jaded. However, I find myself struggling not to make blasé comments about Black Fawn Films’ latest horror movie The Heretics.
Making a movie like Modern Classic requires film experience, and I’m not talking about knowing how to assemble a shot list. It’s a taxing process of compromises that pulls you through the ringer while you remain hopeful and eager. Modern Classic, a flippant film about this love/hate relationship, uses catharsis and dry humour to exhale.
Justin McConnell is a filmmaker who uses tension marvellously, usually either channeled through shadowy environments or visceral fears. In his latest film Broken Mile, he breaks personal ground by using time to intensely disorient his audience.
Ken Finkleman (of CBC’s cult hit The Newsroom) wryly lampoons streamlined success in #AnAmericanDream.