By: Jolie Featherstone The latest film from Olivier Assayas (Personal Shopper, Clouds of Sils Maria) is a classic comedy of manners imbued with dry wit and social commentary aplenty set amongst the bourgeois-bohemian Parisian publishing world.
By: Jessica Goddard Could a beautiful, successful, Type A presidential hopeful like Charlize Theron’s Charlotte fall in love with a slovenly, jobless, political cynic like Seth Rogen’s Fred? Long Shot is wholly predictable in both its conclusion to this question, and in how it gets us there. From the standard drug-fuelled escapade we’ve come to anticipate once per Seth Rogen film, to the “maybe if one day he shows up in nicer clothes she’ll start…
Acquainted is the type of indie that wants to say something profound about romance. Little does writer/director Natty Zavitz know, dozens of other movies have beat him to the punch.
The best choice made about 52 Words for Love concerns its release date. Whoever decided to release this movie on Valentine’s Day deserves a big box of chocolates.
Into Invisible Light would have had better compatibility on stage than how it currently plays in its cinematic scope. As it is, the movie’s fine – decent even. But by projecting itself to fill a larger space, Shelagh Carter’s modest dialogue-driven drama calls attention to its barebones aesthetics when really these details should be, well, invisible.
Holding his audience in anticipation after winning the Oscar for Best Foreign Language Film (Ida), Pawel Pawlikowski returns with his terrific, new Academy Award nominee Cold War.
After touring the festival circuit and sweeping the hearts of many movie goers, Tulipani – Love, Honour and a Bicycle finally makes its way into theatres to claim more adoration from audiences.
Jamie Adams’ Alright Now, a romantic dramedy following a rock star following a particularly brutal double breakup, boasts that it is completely improvised. Here’s the funny thing about improvisation: you need actors who are good at it.
Netflix’s To All the Boys I’ve Loved Before is too slight and trivial even by teen movie standards, but I’m hoping it will make its young viewers talk to each other more. So many misunderstandings and rumours in Sofia Alvarez’s stalled screenplay would’ve been squashed if people had stopped their worrying and had simple conversations with other characters.
Movies about people looking for true love tend to be treated with a lighter attitude. Mostly because audiences respond more efficiently to stories that they can relate to that don’t portray their problems as a wet towel. To my recollection, Let the Sunshine In is the first film – in some time, at least – to put real weight behind this personal mission of romance. Although the film provides relatable results for some viewers, the…