Try this premise on for size: a scared young man – Eugene – attempts to put an end to his bottoming-out fate by hitting the road and finding theoretical gold at the end of a literal rainbow. Being enrolled in special classes has given the handicapped student a slanted view of reality – a contradiction since he witnesses his chain-smoking mother giving up daily. While on his trip, Eugene quickly finds out that the world can…
No Men Beyond This Point is a Canadian comedy that isn’t constantly funny as it is consistently clever.
Much of Prisoner X’s scenery is dark and grey, which describes my experience watching Gaurav Seth’s movie. It’s not very stimulating and I was left feeling cold.
There should be something in Robin and Mark and Richard III for nearly every CanCon-loving Canadian; be it directors Martha Burns and Susan Coyne, Mark McKinney of Kids in the Hall fame, or the slew of Canadian theatre royalty – not even including the subject, theatre legend Robin Phillips.
In Geordie Sabbagh’s indie A Sunday Kind of Love, the audience follows an aloof, cynical author Adam (played by Dylan Taylor) as he struggles through his writer’s block and procrastinates. His girlfriend Tracy (played by Meghan Heffern) tries to motivate him, but his moping is unstoppable. He retreats to a nearby coffee shop and meets Emma (played by Melanie Scrofano), who presents herself as an admirer and soon reveals that she’s actually, well, death (sans black cloak and scythe).
Geordie Sabbagh’s A Sunday Kind of Love hits its hometown at a great time. Canadian Film Day is just around the corner, and it joins the ranks of other exceptional Canadiana fare that you should celebrate on April 20.
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.
Jonathan Taggart’s bare-bones documentary about people disconnected from electric or natural gas infrastructure has a loose, unpolished feel. It’s a fitting accompaniment to an exploration of people who live in a way that many of us would find bafflingly inconvenient.
