Almost Almost Famous is high energy and often kind of cheesy – much like the performers it follows. While the film certainly isn’t terrible and there are a handful of moments that feel honest and genuine, this is a documentary that never quite manages to find its footing.
Eugene Jarecki takes to the road in Elvis Presley’s 1963 Rolls Royce in The King. The documentary’s narrative itself is like Jarecki’s luggage – crammed-full and seeping out of the zippers. However, this stuffed film is interesting in ways thought-provoking open discussions can be.
By: Graeme Howard When a live concert film is done right, it can create a viewing experience that is wholly unique to the live counterpart. Muse: Drones World Tour is an exciting live concert experience on the big screen, providing a non-stop hour-and-a-half of music and sensory overload. That being said, there are a few minor criticisms that hold this live concert experience from a wider appeal to the masses as opposed to being just fan…
By: Trevor Chartrand Documentary filmmaker Delila Vallot brings the world passion and soul personified in her emotionally-charged character study, Mighty Ground.
Itzhak is a charming and easygoing documentary about renowned violinist Itzhak Perlman.
I Can Only Imagine is, more or less, about the act of forgiveness. And just like that personal journey, this movie starts out tough before it starts feeling better for everyone.
Where You’re Meant to Be isn’t without good music, interesting history, and touching moments, but I still feel like director Paul Fegan misses the mark.
Shoestring doc Strad Style is blessed by its main focus, Daniel Houck.
A documentary about The Tragically Hip’s Man Machine Poem Tour needed to be made. After all, it was a pivotal imprint in modern Canadian culture as the entire nation collectively considered the band’s timeless legacy and paid respects to terminally ill musician Gord Downie. Finding filmmakers to handle such sensitive subject matter would be an intimidating order, yet Jennifer Baichwal (Watermark) and Nicholas de Pencier (cinematographer on The Ghosts in Our Machine) rise to the occasion and exceed…
Benny Boom, the music video director/indie filmmaker behind Next Day Air and 48 Hours to Live, has been given a chance to swim in a larger pond with the Tupac Shakur biopic All Eyez on Me. On paper, this should work. Boom’s been working upwards to larger projects, and the source material is certainly in his wheelhouse.