If The People Garden inspired me in any way, it reminded me that I really should mail filmmakers Yonah Lewis and Calvin Thomas a thank-you letter for 2013’s The Oxbow Cure. I’m not comparing both Canadian dramas (which also, coincidentally, take place in the woods), but if a filmmaker creates a minimalist movie, they ought to have a resonating voice.
Private Investigator Mel Sampson (John Hawkes) fast-talks his way through strip clubs and mob bosses for one very dear-to-his-heart dancer. After one-time acquaintance Dorothy (Crystal Reed) places a call to Sampson for help, Sampson comes running, but he’s too late. The chain-smoking Sampson doesn’t rest until he finds out what happened to her – and makes sure the appropriate parties understand their mistakes.
God’s Not Dead had an interesting concept, but a boring execution. It made me feel bad for the teenage extras who had to sit through pages of long-winded dialogue as a devout student went toe-to-toe with his atheist professor.
Jackie Boy leaves a controversial footprint at this year’s Canadian Film Festival. It’s bound to shake up the room and ignite all those who watch it. In other words, filmmaker Cody Campanale reminds us of how films can be greatly provocative and start intelligent discussions.
There is no bigger proponent of Canadian cinema than myself. If a film really captures me, I’ll go out of my way to champion it. Low budget, undetectable indies sometimes need that extra push. However, no matter if the film is big or small, if the end result is wildly inconsistent, I have to throw in the towel. Case in point: Navin Ramaswaran’s shockingly inept Chasing Valentine.
Borealis is a film I’ve been waiting for: Canadian cinema that’s tragic, but neither melodramatic or gratuitous.
About Scout could’ve gone in the wrong direction, but it doesn’t. Despite following a “to do” list of quirky indie things with precocious characters who have been schooled by Juno Technical Institute, there’s a consistent sincerity that never failed to smitten.
Even long-time fans of Terrence Malick’s particular style of experimental filmmaking might find his latest effort Knight of Cups verging toward self-indulgence.
