Rose Glass’ long-awaited feature-length debut Saint Maud has been billed as a horror, but it’s more of a melancholic character piece that analyzes the psychological turmoil a devout follower could experience….that works way too hard to be textbook horror.
Stardust has a really good idea for a movie: the rise of an insecure musician who strives for fame but, at the same time, is scared of how his lack of identity will ruin him. If the movie was about an ambiguous celebrity, director Gabriel Range (Death of a President) could’ve had a lot of room to explore the anxieties of fame. Unfortunately, he’s desperate to crowbar these dilemmas into an unqualified and unauthorized biopic…
For a movie to be inspired by or use a real-life tragedy as a primary factor in its story, the filmmakers have to justify their utilization well. Not only does Songbird fail to do this, a film using an ever-evolving case of COVID-19 as its crux, but Adam Mason’s movie proves that there shouldn’t be a film centring around this pandemic (or something like it) for a very, very long time. Educational tools (Totally Under…
This month, let alone this year, seems to be really early to release a documentary about the current COVID-19 global pandemic. This film, Totally Under Control, concludes by stating that one day after wrapping President Donald Trump tested positive for the virus, which is an indication as to how wet the paint still is on this project. The release could be because, as we close in on this year’s presidential election, the documentary wants to serve…
Possessor Uncut is a surprisingly undercooked psychological horror from Brandon Cronenberg. It’s filled with provocative qualities, but they’ve been assembled in a way that doesn’t come together and, instead, work as standalone strengths.
In a romantic movie, a relationship’s break-up is simply used as a story device – a stepping stone towards the rising action. But, writer/director Natalie Krinsky uses this turning point as the main focus in her rom-com The Broken Hearts Gallery, a conventional film with a few good laughs and character-driven surprises along the way.
I may have forgotten about 2000’s buddy comedy Ready to Rumble, starring David Arquette and Scott Cann, but it turns out wrestling fans neither forgive or forget.
The title She Dies Tomorrow refers to a line spoken by the film’s lead character Amy (Kate Lyn Sheil) to her sister Jane (Jane Adams) early on in the movie. Jane shrugs it off, but then slowly becomes obsessed by the possibility that she too could die tomorrow. She goes to a birthday party where she passes on her distressed theory to a group of four (Chris Messina, Katie Aselton, Jennifer Kim, and Tunde Adebimpe),…
If I was Jay Baruchel, I don’t know if I would’ve followed up my breakout directorial effort in Goon: Last of the Enforcers with a typical horror film like Random Acts of Violence.
Part way through Playmobil: The Movie, I was settling into a marginal recommendation. As a colourful distraction for young kids who are starting to show interest in action flicks, it’s generic yet harmless entertainment. But as the story dragged on through shameless attempts to emulate The Lego Movie franchise, Playmobil: The Movie began to pick at my patience.