By: Jolie Featherstone When a movie opens with an inspirational, expletive-filled meditation guide voiced by Maya Rudolph, you know you’ve chosen the right movie.
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.
Permission is dressed-up old news. The film looks good and the cast is hip, but the lengths the film will go to explore provocative themes within a relationship are much more common than the film believes.
I appreciate movies like Sean Mewshaw’s Tumbledown. As someone who is asked on a daily basis for movie recommendations, Tumbledown provides me with a safe, warm suggestion for easygoing audiences.
Let’s take a brief break from hot ticket TIFF screenings and talk about something that most movie goers have tried to forget: Garry Marshall’s Mother’s Day.
There are movies by Garry Marshall that are “very Garry Marshall”, and movies that are “sort of Garry Marshall”. Mother’s Day is – most definitely – “very Garry Marshall”.
Jesse Owens is a fascinating individual and he absolutely deserves a biopic, but Race is not it. Interestingly enough, the title gives away many of the film’s faults: it conflates racism and running to an uncomfortable degree. Stephen Hopkins’ movie is almost completely devoid of subtlety – it’s so naive, it hurts.
By: Addison Wylie There’s no other way to put it: Epic is uninteresting. It’s attractive, but very dry. Almost everything about it amounts to a sigh as the audience waits for Chris Wedge’s animation to go through the usual family friendly motions. I didn’t find the film’s eco-friendly message to be clamouring, but its ability to tell an inventive story is seriously lacking. Especially when the film is visually brimming with imagination. James V. Hart,…
By: Addison Wylie I feel it’s almost necessary to start a review for We’re the Millers stating that Jason Sudeikis’ pot dealing character is never shown smoking marijuana or hinting that it could be smoked. I’m also inclined to state that while Jennifer Aniston’s broke, erotic dancer character is occasionally shown in scantily clad underwear, it appears she also works in the only strip club establishment where other dancers stay covered. These may sound like…
By: Addison Wylie The Campaign is hilarious, but, the funniest thing about the new political comedy starring Will Ferrell and Zach Galifianakis may be the reactions from confused patrons expecting a dumb comedy. The befuddled audience members will not find this funny, because they’ll be too busy being disappointed, but everyone who got a kick out of this mixed breed of childish humour and a straight political underdog story will be grinning from ear-to-ear. There’s…