In general, the horror anthology is a devastatingly underrated genre. Brian and Jocelyn Rish’s Grave Intentions is a great example of how entertaining this format can be when done right.
Articles by Shannon Page
Though its measured pace and dialogue-heavy approach could turn off audiences seeking a more thrilling cinema experience, the European-produced Adventures of a Mathematician is an engaging and deeply human portrait of a fascinating moment in history.
Though it doesn’t break new ground, Hudson is a sweet and satisfying comedy about grief and forgiveness.
Written by Jenny Lester and directed by Amy Northup, What She Said dubs itself a “feminist dark comedy” – an apt description for a film that combines dry humour with a frank examination of sexual assault and its consequences.
Camp is notoriously tricky to pin down, and even tricker to execute. As Susan Sontag notes in her 1964 essay “Notes on ‘Camp’”, “[o]ne must distinguish between naïve and deliberate Camp. Pure camp is always naïve. Camp which knows itself to be Camp (“camping”) is usually less satisfying”. Sontag suggests that the best, most satisfying examples of camp are those that are trying to be serious. When something tries to be camp, it usually fails….
Written and directed by Nicole Dorsey, Black Conflux gets many things right. Aesthetically, it is a compelling film that makes use of visual motifs to link the lives of two very different characters.
In the late 1980’s, Del Close set out to write his autobiography, Wasteland, for DC comics. In Wasteland, the actor and comedian, who mentored comedy legends from John Belushi to Tina Fey but found little material success in his own career, presented a fictionalized and darkly surreal version of his life story. In director Heather Ross’ semi-experimental documentary, For Madmen Only: The Stories of Del Close, Wasteland serves as a frame for a deeper examination…
Genuinely creepy and a bit corny too, Let Us In is a fun sci-fi/horror that starts off strong, but doesn’t deliver in its third act.
Argentinian director Martín Kraut’s La Dosis (“The Dose”, in English) is a tight, engaging thriller that would be better off without the homophobic subtext.
Written and directed by Ryan Noth (No Heart Feelings), Drifting Snow depicts a rural Ontario winter in all its frozen glory. But, tangled timelines and poor pacing hinder what could otherwise be a compelling drama.