By: Trevor Chartrand Between the imminent threat of attack, the dank living conditions and the terrible rations, there’s no nightmare worse than enduring trench warfare. Filmmaker Saul Dibb dares to depict these WWI conditions in Journey’s End, a gritty war drama with intense realism. To be clear, this isn’t a film that celebrates war heroes or glorifies the battlefield. Instead, the film follows a group of soldiers who are faced with the inevitable promise of death,…
The foxtrot, as you may know, is a dance – the movie reminds us of that. The first position is the same as the last, which the film (of the same name) uses as a metaphorical device to encompass the fate of the characters we see on screen.
Juggernaut has an element it excels in – troubled characters gradually bringing their brooding funk to an explosive spill. I’d like to believe writer/director Daniel DiMarco is aware of how his film works, but the filmmaker consistently sidesteps around this area of strength. I don’t think DiMarco is clueless, but he’s making too much trouble for himself to seek out a challenge.
Black-and-white is used and abused for style. We often forget how effective it is under limited resources.
In a remarkable directorial and screenwriting debut from Arab-Israeli filmmaker Maysaloun Hamoud, In Between encapsulates the struggle between identity and conflicting cultural expectations.
Permission is dressed-up old news. The film looks good and the cast is hip, but the lengths the film will go to explore provocative themes within a relationship are much more common than the film believes.
Great Great Great kicks off with a disconnected exchange following huge news. Corporate worker Lauren (Sarah Kolasky) is told about her parents’ divorce by her mother. Mom is aloof – almost to a numbing degree – but Lauren is shook up. Her long-term relationship with Tom (Suck It Up’s Dan Beirne) is satisfyingly comfortable, but she suddenly fears of a future of boredom. A flash-from-the-past in the form of a new co-worker/old friend (Richard Clarkin) triggers Lauren to…
Let There Be Light is a gratuitous entry into the popular faith-based sub-genre, but it acknowledges some interesting albeit heavy-handed ideas about being open to change.
Why can’t George Clooney make a movie that’s “simple”? I don’t mean “simple” as in unremarkable quality, but “simple” as in accessible entertainment.
By: Nick van Dinther As soon as you read the synopsis for Lost Solace, you can tell that this will be a unique story idea that, if executed well, will be a quite a treat for audiences. Thankfully, the film meets its potential and then some.