Will Patton and Mark O’Brien play a father and son on the run in Hammer, a sophomore feature from writer/director Christian Sparkes (Cast No Shadow). It’s Breaking Bad meets Beautiful Boy.
Articles by Addison Wylie
Somewhere in Dave Hill’s character drama Flying Cars is a really interesting documentary about radio-controlled car racing and its niche community.
The Hunt is more politically charged than expected. It’s also more cartoony than expected. It’s a sardonically funny thriller that points out hypocrisies of right-wing and left-wing beliefs, and favours extravagantly violent finales over mutual understandings. Cynical, yes; but The Hunt is a really ballsy movie for strapping on a blast suit and barrelling through such edgy, non-partisan material.
The Rest of Us needs a low triple-digit runtime, but sets up a needless challenge for itself to tell its story in under 80 minutes. What’s the hurry? And if filmmaker Aisling Chin-Yee has to compromise the narrative with condensed scenes and sharp edits to win the challenge, what’s the point?
Jeffrey McHale’s documentary You Don’t Nomi dissects 1995’s much maligned racy drama Showgirls in a similar way that Rodney Aster’s Room 237 delved into different theories on Stanley Kubrick’s adaptation of The Shining. Both films are about how cult interest breathed new life into a filmmaker’s original vision, however the difference between the documentaries stems from their points of interest. Room 237 was about how movie goers have interpreted visual totems within the film. You…
There’s no shortage of optimism in 2040, an encouraging eco doc from filmmaker (and concerned father) Damon Gameau.
This doesn’t happen too often – two films of the same specific sub-genre being released so closely to each other. In this case, the genre is the “home invasion thriller”. One’s really good, the other is really bad. Becky, the really good one, did a great job entertaining audiences with lots of inventive action. Its comparable evil twin, Survive the Night, takes us to the upside-down. It’s boring, illogical and its most famous star, Bruce…
You have two choices: focus on what’s insufficient in Becky or praise what the production miraculously pulls off. I would rather lean more towards the latter than the former. Sure, there are details in Becky that I wish had more time to breathe. On the other hand, the film is very entertaining, and it’s a career high for one of its actors.
In The Invisible Man, the titular character – once a spooky Universal Classic Monster – receives a contemporary reimagining by writer/director Leigh Whannell.
Pontypool is one of my favourite movies, even though I really dislike its post-credit sequence. It’s a random bit that looks like a deleted scene from Robert Rodriguez’s Sin City series, featuring obscure characters that we haven’t seen before exchanging hard-boiled dialogue – it’s moody nonsense. It makes as much sense as the entirety of Dreamland, a pseudo-fantasy-noir that has the gall to ride the coattails of Pontypool; squandering the reunion of its filmmakers and…