James vs. His Future Self (DIR. Jeremy LaLonde) Jeremy LaLonde’s recent movies have truly owned their genre in a unique way. The Go-Getters was a gleefully foul play on the traditional buddy formula, and How to Plan an Orgy in a Small Town was a charming sex comedy. With James vs. His Future Self, LaLonde takes a swing at crossing science fiction with a romance – it’s a sweet success.
The Toronto Youth Shorts festival is a great platform for aspiring filmmakers and for storytellers with a lot on their mind. I can usually count on the selections to cover themes from cultural reflections to personal discoveries, with an occasional fluffy piece to break up the weight of these programmes.
Swimming in foreplay and misogyny, After is PG-13 fodder that doesn’t even deserve your morbid curiosity.
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.