Some frenetic films have been described as live-action video games, but Ilya Naishuller’s Hardcore Henry takes that criticism up a notch by actually strapping viewers into a live-action video game. We act out all of the disorienting, brutal action sequences. It’s the gimmick behind Man Bites Dog injected with Crank’s epinephrine.
Still hot off the success of his previous two accolade-winning films (Dallas Buyers Club [2013] and Wild [2014]), Jean-Marc Vallée explores similar themes in a less formulaic way with his latest dramedy Demolition.
At first glance, Across the Line is a common film that exposes a type of impressionable racial discrimination filmmakers have acknowledged before. This time, the devastation hits close to home (Nova Scotia) and allows a breakout director to handle the heavy material in a different way that doesn’t dance around the aftermath.
God’s Not Dead had an interesting concept, but a boring execution. It made me feel bad for the teenage extras who had to sit through pages of long-winded dialogue as a devout student went toe-to-toe with his atheist professor.
In case you don’t have the chance to catch Seve the Movie, here’s a rundown: characters interact with golfer Seve Ballesteros over both banal and important matters. Seve responds by expressing how much he loves golf, intercut with archive footage from pro golf tours he’ll later play in.
The arrival of Dead Rush’s world premiere at this year’s Canadian Film Fest came at a coincidental time. On April 8, Ilya Naishuller’s Hardcore Henry hits theatres. Both films are very good genre flicks that position the viewer in the lead character’s perspective. As far as which film has a cleaner landing though, Dead Rush has the edge.
Jackie Boy leaves a controversial footprint at this year’s Canadian Film Festival. It’s bound to shake up the room and ignite all those who watch it. In other words, filmmaker Cody Campanale reminds us of how films can be greatly provocative and start intelligent discussions.
