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.
Daniel’s Gotta Die is one of my favourite comedies of the year so far. It sports a terrific cast and inspired direction, and fearless dark humour. Since this exotic ensemble comedy has many working parts, I was interested in finding out more details about how the production came together so well.
Amateur Cree filmmaker Cody Lightning shoots for the sky with Hey, Viktor!, an unexpected mockumentary that pulls its influences from the most unlikeliest of places.
Nearly 20 years after its initial release, a different rendition of Mean Girls – the cult teen flick penned by and co-starring Saturday Night Live alum Tina Fey – tries to make as much of an impact as its predecessor did.
Happy Madison apologists who have gone up to bat for Grandma’s Boy can rejoice – director Nicholaus Goossen has returned with a new cult flick in the making.
With only two features under their belt, married filmmakers Dane Clark and Linsey Stewart have demonstrated that a story can be singlehandedly developed on a unique and personal dynamic between two characters. While their debut indie I Put A Hit On You may have fizzled after liftoff, their sophomore effort Suze shows growth in all the right areas; resulting in an absolute crowd-pleasing charmer.
The comic insanity and absurdity of Hundreds of Beavers suggests that Mike Cheslik and Ryland Brickson Cole Tews, who last collaborated together on Lake Michigan Monster, are brimming with glee when making movies. With Cheslik directing, Tews starring, and both taking on writing duties, Hundreds of Beavers is a bonafide bonanza of hilarity that perfectly displays the comedic stylings of this trailblazing duo.
A movie based on a Broadway musical that is, in turn, based on a two-decade old cult classic teen comedy doesn’t exactly read like a recipe for cinematic success. The original Mean Girls, released in 2004, was directed by Mark Waters (2003’s Freaky Friday, Just Like Heaven) and featured performances from some of the biggest teen stars of the early aught’s — including Lindsay Lohan, Rachel McAdams, and Amanda Seyfried. It was an instant hit,…
The Sweet East is a coming-of-age tale told by unreliable narrators (screenwriter Nick Pinkerton and director Sean Price Williams, making audacious feature debuts), and centred around a conceited anti-hero with a personality disorder. Your feelings towards that concept alone will reflect how you will react to the film itself. You can try giving it the benefit of the doubt if you’re already feeling irritated, but I’m afraid your efforts will all be for naught.
The only real positive takeaway from Netflix’s dreadful yuletide family comedy Family Switch, other than the odd mild chuckle, is that it acts as a canary in the coal mine for body swap flicks.