Most movies build towards a crescendo, yet the first act of Ant Timpson’s Come to Daddy is the climax. But then, instead of gradually hitting new heights, Timpson’s film simmers to a tepid temperature. Despite the outrageous feedback you may have heard about the movie’s wild qualities, Come to Daddy is actually family tame (if you’re used to off-the-wall genre pieces).
The Farewell is a universally identifiable gem of a family dramedy.
By: Trevor Chartrand The beloved and monstrous Addams Family returns to cinemas this Halloween; animated for the first time ever on the big screen, and directed by the duo who brought adults Sausage Party. This new film focuses on a real estate mogul trying to drive monsters out of town (à la Shrek), Pugsley Addams’ bar mitzvah, Wednesday Addams’ teenage rebellion, Lurch endlessly playing pop songs on a piano, and a never-ending slurry of other superfluous subplots…
Road to the Lemon Grove is at its best when it indulges fully in its love affair with Sicily. Montages of food in market stalls, picturesque coastlines, narrow streets, fruit trees, donkeys – these are the most pleasurable moments in the film. Unfortunately, they are all too frequently interrupted by a forced plot, underdeveloped characters, and an awkward premise.
By: Jessica Goddard A poignant and sincere exploration of family, loyalty, and cultural divide, The Farewell turns its writer-director’s quirky anecdote into effective drama.
The How to Train Your Dragon series receives a fulfilling finale with The Hidden World, a sensational sequel that not only ties its saga back to the creation of legendary stories, but also features the best visuals DreamWorks Animation has ever produced.
By: Trevor Chartrand Animation studio Laika Entertainment has a reputation for dark and brooding content with releases like Corpse Bride (2005) or Coraline (2009), but this year’s Missing Link breaks their mold as a fun-for-most-ages adventure story.
There’s been a modest resurgence of oddball, family-friendly fantasies. We were reminded of it with Tim Burton’s Miss Peregrine’s Home for Peculiar Children, and now with Eli Roth’s The House with a Clock in Its Walls. While I’m more of a fan of how the former balanced all of its supernatural factors, I still really liked and admired Roth’s kooky flick about an uncle teaching his nephew the tricks of the trade to sorcery.
ABU is a beautiful trip through the life of Pakistani-Muslim filmmaker Arshad Khan. It’s also an outstanding and promising feature-length debut by the filmmaker.
Supa Modo hit an emotional sweet spot with me, as I’m sure it will with TIFF Kids audiences. It’s easy to engage with a film that has this much optimism and zest.