Before making Kodachrome, filmmaker Mark Raso directed Copenhagen and screenwriter Jonathan Tropper wrote This Is Where I Leave You. Both of those were modest movies with family drama and pleasant dynamics. Kodachrome is more of the same from these two men, which is good for Netflix audiences looking for an easy watch, but slightly disappointing for movie goers expecting more than unchallenging schmaltz.
I can’t decide whether Mobile Homes is genuine or not. Its portrait of off-the-grid living and underground ugliness looks real to an upsetting extent, but the characters are unbelievable.
Indian Horse is ingrained with prejudice experienced by Canada’s Indigenous people. Director Stephen S. Campanelli, who is usually hired as a camera operator on mainstream films, gives his audience a firsthand perspective of this chilling history while adapting Richard Wagamese’s award-winning novel of the same name.
Happy Anniversary is a rom-com with erratic behaviour. Jumpy storytelling and unlikable characters make this movie hard to warm up to, but some solid laughs makes this pill easier to swallow.
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,…
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.
