Just like a seemingly reliable pair of pants, it’s easy to get comfortable with In Fabric before it starts thinning out over time.
The Nightingale is Jennifer Kent’s filmmaking follow-up to her cult hit The Babadook. Continuing her career in discovering horror threaded within suppressed memories, Kent weaves a period drama about redemption after trauma.
By: Jolie Featherstone Director Rian Johnson (Looper, Star Wars: Episode XIII – The Last Jedi) makes a triumphant return to his whodunnit-loving form with Knives Out. Fourteen years after his much-loved debut feature, Brick, a passionately-told film noir set in a modern-day Southern California high school, Johnson’s Knives Out charmed audiences with one of the most talked-about films at this year’s Toronto International Film Festival.
Frankie is like a postcard – the picture is beautiful, but it hardly has any substance attached to it.
By: Trevor Chartrand Pedro Almodóvar’s Pain and Glory is a well-crafted melodrama; an emotional piece weighed heavily by its evocation of sadness and regret. The film stars Antonio Banderas as Salvador Mallo, an aging filmmaker who reflects on his past and the mistakes he’s made – mistakes that seem more clear through older, wiser eyes. Almodóvar explores themes of life, love, family, regret, and retribution, all through the lens of the classic mantra: ‘hindsight is…
By: Jessica Goddard In the delightful tradition of remaking films and gender swapping the leads – which no one is getting tired of at all – After the Wedding struggles to be convincing in its premise.
By: Trevor Chartrand Danish filmmaker/journalist Mads Brügger hits an incredible home run with his latest intense and heartbreaking documentary, Cold Case Hammarskjöld. The film sets out to explore a fifty-year-old unsolved mystery, which is intriguing enough, only to end up unravelling a much larger, gut-churningly appalling conspiracy.
Just as a thoughtful retirement video or an in memoriam can do, Avi Belkin’s well produced outside-the-box doc Mike Wallace Is Here encapsulates its subject’s career and tells a personal story through archival footage.
By: Jolie Featherstone Maiden opens in the middle of a cold and unforgiving ocean. Waves as tall as houses tumble and crash. A preternaturally calm voice is heard over the roar: “the ocean is always trying to kill you.” The roar continues. A storm brews in the increasingly agitated sky. “It doesn’t take a break.”
Toni Morrison: The Pieces I Am is an efficient documentary, even if it’s as standard as biopic docs get.