By: Graeme Howard Simon Baker’s directorial debut Breath (adapted from the international best seller by Tim Winton) is, at first glance, a by-the-numbers coming-of-age surfing tale. However, the audience is treated to a thought-provoking surfing drama that succeeds in capturing the raw nature of the sport, while also exploring the spontaneity of youthfulness and the joyful exploration of curiosity, fear, and self-understanding.
By: Trevor Chartrand The Happytime Gang is here! Directed by the son of Muppets creator Jim Henson, Brian Henson brings us The Happytime Murders, a comedy that takes fun and lovable puppets into some dark new territory.
Some of this year’s most endearing performances get buried by Andrew Bujalski’s faulty filmmaking in Support the Girls.
Toronto filmmaker Sofia Bohdanowicz travels to Paris, France to tentatively live with a colleague’s mother, Juliane Sellam, in the documentary Maison du Bonheur, a boring film that never lives up to its experimental ambition.
Gail Harvey’s latest movie Never Saw It Coming has a title so unintentionally fitting, it makes my head spin.
Crystal Moselle, who made a name for herself as a documentarian with the 2015 hit The Wolfpack, takes inspiration from Larry Clark’s career in her narrative feature debut Skate Kitchen. It’s a seamless transition for Moselle who is experimenting (and subtlety infiltrating) with documentary aesthetics to tell a scripted story about a young woman who is trying to gain acceptance while searching for independence.
Benched is pitched (har, har) to audiences as the latest entry in the sports movie genre, but it almost ends up working more as a buddy comedy instead. The scenes of gameplay are present and they’re easy to get wrapped up in, but the drive behind those scenes – along with other elements in this charming story of winning and losing – is the love/hate dynamic between two little league coaches playing on the same…
Benched is a no-brainer recommendation for sports movie fans. It’s charming, funny and, despite its rote concepts, the filmmakers put forth enough effort to give audiences something different.
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.
By: Jessica Goddard Alison McAlpine’s Cielo is visually breathtaking, but contemplative to the point of being slow.