Reviews
July Talk: Love Lives Here – A Dual Review
In anticipation of the home release of the Canadian doc July Talk: Love Lives Here, Wylie Writes’ Trevor Chartrand and Jolie Featherstone both reviewed the movie. Did they like it? Do they agree with each other? Check out their takes!
The Out-Laws
Your enjoyment of The Out-Laws will depend on how much you like (or can tolerate) Adam Devine. The former Workaholics up-and-comer, who has gradually been carving out a career as a leading man, is centre stage in Happy Madison’s action-comedy. As someone who has always been entertained by Devine’s roles (the Pitch Perfect franchise, Mike and Dave Need Wedding Dates, When We First Met, Game Over, Man!, Isn’t It Romantic), Adam Devine’s goofy performance in…
Making Time
Liz Unna’s documentary Making Time bounces between subjects who all share a career in watchmaking, and have an overall obsession with time itself. Being a horologist has put life into perspective for these meticulous people, and has issued a number of self-reflections and epiphanies. This collective fascination is the frequency Unna invests all of her storytelling confidence in. Unfortunately, Making Time lacks personal touches as well as a coherency between the doc’s interviewees.
Retrograde
The intentions of Retrograde are tough to pin down and, if the viewer likes the movie, the Canadian indie is even more difficult to recommend because of how persistently obnoxious it is. I should know because I belong in this camp, and I’m going to do my damndest to explain why I think Adrian Murray’s movie is a brilliant comedy.
So Much Tenderness
So Much Tenderness reunites me with Colombian-Canadian filmmaker Lina Rodriguez eight years after reviewing her feature-length debut Señoritas. While I can see a bit of growth between then and now, Rodriguez is still stuck in her naturalistic, fly-on-the-wall approach to personal character studies.
Asteroid City
By: Jeff Ching Wes Anderson is one of very few current directors where viewers can watch 10 seconds of a trailer promoting his film, and immediately identify it as “a Wes Anderson movie”. I don’t know whether that’s a good or bad thing, but credit to him for such a distinctive style. He may be the most “auteuristic” auteur ever, if that makes any sense. Does it? I don’t know. Moving on…
