The Farewell is a universally identifiable gem of a family dramedy.
Using a narrative that gradually builds momentum through a series of hustles and surprises, Parasite is utterly unpredictable. It’s a memorable flick not only for its mind-bending story, but because director Bong Joon-ho (The Host , Snowpiercer, Okja) has reinvented the farce formula with this Palme d’Or award-winner.
World War II has been done! This is hardly a controversial claim when it comes to cinema; everyone and their mother has already made a film about World War II—whether about how bad the war was or how heroic—and seemingly every possible angle has already been covered. Filmmaker Taika Waititi, however, finds a way to stand out with Jojo Rabbit, a movie that refuses to be about the war at all, instead using his unique brand…
Corporate Animals is aggressively heartless, as if it’s in a competition to be the cruelest dark comedy. But in doing so, the film sacrifices itself and proves to audiences just how two-dimensional it really is.
Ghosts are just ordinary people who have died. Surely, that means they are all around us, right? Extra Ordinary starts with this quirky concept and adds satanism, post-domestic abuse, and driving school experience to turn the weirdness up to eleven. The film’s weirdness isn’t its only trick, however, because Mike Ahern and Enda Loughman’s film is roaringly funny despite that.
James vs. His Future Self (DIR. Jeremy LaLonde) Jeremy LaLonde’s recent movies have truly owned their genre in a unique way. The Go-Getters was a gleefully foul play on the traditional buddy formula, and How to Plan an Orgy in a Small Town was a charming sex comedy. With James vs. His Future Self, LaLonde takes a swing at crossing science fiction with a romance – it’s a sweet success.
Greener Grass is a suburban social comedy dressed up as an irreverent weirdo. While it may paint itself into a corner by setting a high bar for itself, I loved being in its company nonetheless.
Controversial director/screenwriter Roger Avary returns to the director’s chair with Lucky Day, his first commercial release since 2002’s The Rules of Attraction.
The intersection of comedy and thriller do not often mix well, especially in survivalist narratives. But Harpoon, even with its familiar survivalist tropes on display, evenly balances the two in an intense, frequently unpleasant, but endlessly watchable nightmare-at-sea.
Sometimes Always Never sets out to be quirky, but comes out dorky. It takes pride in its uneven nuances, gushy sentimentality, and jokes about Scrabble. What saves the mild-mannered movie to an extent, however, is how the awkwardness is (sort of) embraced through its humour.