The Neighborhood

At the moment, there isn’t a more indulgent director than Frank D’Angelo.  The Canadian entrapreneur/musician has made a film career out of mob movies featuring (and recycling) loaded casts, essentially, playing cops n’ robbers.  The material is more than criminals and anti-heroes pointing guns and using twelve-letter words to berate each other, but some have argued otherwise.  The Neighborhood, unfortunately, gives the haters ammunition.


Blood Empires

Peter Rajesh Joachim, a graduate of Sheridan College’s advanced television and film program, makes his feature-length directorial debut with the shoestring crime drama Blood Empires.  It’s adequate and exactly what you would expect from a new filmmaker tackling a genre that’s known for obvious clichés, but thankfully Joachim is aware enough to somewhat withhold his cast from sleepwalking through tiresome territory.


The Resurrection of a Bastard

By: Addison Wylie While I watched The Resurrection of a Bastard, I often wondered where Guido van Driel’s movie was headed.  It’s so aimless and without a thought in its busy little head until the existential epiphany its despicable lead character has. However, as soon as I questioned the film, I followed up with another query: Do I even care where this story ends up? Unless the movie is a slapstick send-up, the crime genre…


The Great Chameleon

By: Addison Wylie If Goran Kalezic’s film was conceived a few years earlier, I’m certain Larry the Cable Guy would’ve played Victor Altomare’s leading role.  The Great Chameleon has all those traits one would find in the comic’s low-brow outings – including a cast made up of fairly familiar and puzzled faces as well as cringe-worthy politically incorrectness trying to pass as humour. I think my passiveness towards poorly written, brash racial stereotypes in recent…