Movies can be delicious, such as this year’s rom-com Bakery in Brooklyn. Despite the fresh food, the charming chemistry between the two leading women is what made the film buoyant. On the other end of the scale, you have Menorca, which is deliciously bad. This film feeds us so much camp, we’re begging for more when the movie begins to clam up.
The Devout is a new addition to the faith-based genre, and it’s actually a pretty cool flick. You don’t often hear “cool” in the same discussion as recent faith-based cinema, so I assume I already have your attention.
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.
Following the ubiquitous trend of safe and eccentric Canadian indies, Robert Cuffley’s dramedy features quirky characters in a small town anticipating an event that’s larger than life to them, but would be a modest footnote to anyone outside of their community.
Kevan Funk’s Hello Destroyer, a complicated and clinical disclosure of the underlying traumas associated with hockey, was well-received at TIFF last year for a good reason: there aren’t many films brave enough to de-mythologize Canada’s national sport.
It would be easy to list the faults in Jack Buchanan’s fan film King Kong, which is why various YouTube users have decided to pile on.
In Frank D’Angelo’s The Red Maple Leaf, special agent Alfonso Palermo (D’Angelo) asks potential suspects to “indulge him” during interrogations. I’ve heard some describe D’Angelo’s filmmaking as indulgent, which is why I smirked whenever Palermo asked this. Whether this was a cheeky wink toward critics is a mystery, and will probably remain unanswered.