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Wylie Writes

Reviews

Funny Tweets

Twitter has been featured in movies, but Laurie McGuinness’ Funny Tweets is allegedly the first film about Twitter, an open forum that allows users to connect to the world through condensed text.  The film reminds its viewers that it’s “not affiliated with or sponsored by” the social media platform but, hey, they could’ve fooled me.  The documentary is overflowing with gratitude expressed by comedians and writers who sing the Twittersphere gospel.

Reviews

Border

A modern day fantasy has been in order, and Border could be the answer – for now.  Co-writer/director Ali Abbasi provides audiences with a cogent story that doubles as an allegory on minorities and treats its fantastical characters humanely.  It’s what Bright aspired to be.

Reviews

The Price of Everything

The central question at the core of Nathaniel Kahn’s The Price of Everything is how importantly, or inherently, is money connected to art?  The answer reveals itself through the understanding of artists, historians and dealers, with that importance going higher as monetary power does.  In other words, this documentary ultimately makes two points: art is inherently financial, and capitalism will slowly but surely cause the demise of it.

Reviews

Green Book

There is a certain sort of film that defies classification.  The quick description is the sort of film that is not perfect by any stretch of the term, but which contains just a little something that manages to hit on a collective pathos in the audience.  Those films release a positive feeling into the audience that can actually be felt when one is in such an environment.  Green Book is just such a film: it…

Festival Coverage

Wylie Writes @ The 2018 Toronto Reel Asian International Film Festival

The Toronto Reel Asian International Film Festival (Nov. 8 -16) has ended yet another successful run, continuing to offer filmmakers and storytellers an integral platform to connect with audiences.  I was fortunate enough to catch a couple of the feature films programmed at this year’s Reel Asian Film Festival but, unfortunately, I was left feeling underwhelmed by my selections.

Reviews

Number 37

Number 37, which recently premiered this summer at the Fantasia Festival, proves an old argument: some films should not be remade.  In this case, director Nosipho Dumisa has updated and resituated Alfred Hitchcock’s classic thriller Rear Window within the generic contours of the gangster sub-genre.