By: Trevor Chartrand Michelle Ouellet’s Prodigals depicts a feeling as much as a narrative. Based on a stage play of the same name, the film is about a group of 20-somethings reflecting on their lives, and coming to terms with the emptiness staring back at them. While it may sound bleak and unsettling, the film isn’t without a few shimmering rays of hope.
By: Nick van Dinther Birthmarked isn’t a bad movie, but it still feels like a missed opportunity.
Your enjoyment for Michael A. MacRae’s indie Fishbowl California will vary on your tolerance towards its lead characters.
Hell’s Kitty, a film that has been assembled from a web series of the same name conceived by writer/director Nicholas Tana, makes for an amusing in-joke for horror hounds. The cameos alone from iconic character actors are enough to make those fans beam. For instance, The Hills Have Eyes’ Michael Berryman appears as a testy detective, while Heir’s Bill Oberst Jr. and The Shape of Water’s Doug Jones star as a devout duo who attempt to exorcize…
From Hollywood to Rose is a product of the 90s, which hints towards the film’s wheelhouse.
By: Jessica Goddard Wexford Plaza was one of the best films of 2017, and it was also a finalist for the Toronto Film Critic Association’s award for Best Canadian Film. As the film celebrates its home release on digital platforms, I reached out to writer/director Joyce Wong to ask about her feature debut, its universal story, and her personal connection to the film.
By: Nick van Dinther Some films can be accused of lazy storytelling and a lack of risk. Well, neither apply to Peter Lynch’s Birdland. Unfortunately, Lynch’s convoluted ambition makes Birdland a very difficult film to follow.
Strawberry Flavored Plastic combines elements of found-footage horror and mockumentary to create a story about two documentarians (Nicholas Urda, Andreas Montejo) making a movie about a serial killer, Noel Rose (Aidan Bristow). With testimonials, first-person video, and video conferencing, the audience learns how this “film” slips out from underneath its makers and how it goes awry.
Suck It Up was an encouraging sleeper flick that helped close out last year.
I didn’t believe anything in Considering Love & Other Magic. These characters are so disengaged, you could set them on fire and all they would do is shrug. They’re all too busy pondering about death; mostly the long-term existentialism that lingers when a loved one passes away. The press release describes Dave Schultz’s film as a “family movie”. Try explaining that pitch to your kids. You’ll owe them ice cream after the show.