An artist making an autobiographical documentary is a bold and, quite frankly, strange move. But in the case of Moby Doc, this choice is on brand for enigmatic electronic musician Moby. Early into the movie, even Moby acknowledges how seemingly unconventional this choice is. This doesn’t excuse the odd conception of Moby Doc but, at least, it gives us an idea of how self-aware the musician is. However, a detrimental line is crossed when Moby…
Tito is an immersive sensory experience that reminds me of what I love best about film as a medium: its ability to place the viewer within unfamiliar bodies, minds, and environments.
She’s Allergic to Cats is an absolute anomaly. Incorporating elements of American independent cinema, Jon Moritsugu-style filmmaking and even early video art, music video director Michael Reich has created something that is, at once, missing a cohesive audience and the sort of work that we need right now.
The Image Book is nonsense that gives experimental cinema a bad name. If a comedy had to spoof an “artsy” movie that’s “a little bit out there”, the filmmakers would try and emulate the ludicrous decisions Jean-Luc Godard makes in his latest “movie”. They might as well play portions of The Image Book instead of writing anything.
1999 (DIR. Samara Grace Chadwick) A hauntingly dreamlike style of documentary and exploration of memory, Samara Grace Chadwick’s 1999 is artistically-conceived though low on information.
Netflix is a juggernaut of content, and they’re still breaking the mould. Just take Daryl Hannah’s Paradox, for instance. Who could’ve guessed the streaming service could turn your living room into a snooty arthouse theatre? That’s a flippant comment but, boy, is Paradox excruciatingly smug. How do you rate or review this movie? Is this even a movie?
I like Crackerhead, but this latest experimental experience from filmmaker Mike Klassen is making me sweat – it’s a tough movie to review if you can’t crack through Klassen’s poker face. The film’s flippant facade has anarchy written all over it, but the drive behind Klassen’s directorial decisions and stylistic storytelling suggests a deeper, poignant project.
The craft of brilliant costume designers and make-up artists can transform the most recognizable actors into strangers. Such is the case for Manifesto, a one-woman-show featuring two-time Academy Award winner Cate Blanchett portraying 13 different roles. Of course, the production is also lucky to have one of the greatest living actors at the forefront. However, what Manifesto also displays is that sometimes the best artists overshoot their target.
9 Days with Cambria is sold as an experiment in character development and storytelling. It tells the story of a young woman by the name of Cambria, who was once raped by her boyfriend-at-the-time which led to their breakup and her worsened mental state. In more competent hands, this could have been an inquisitive work, but in the hands of directors Mike Klassen (Abolition) and Jason Armstrong, the final product is at best inconsequential and at…
I know Parker Mott as a fellow writer and a friend. We met on the set of Eric Marchen’s television show Cinema Seen years ago (when it was originally titled The Film Slate), and we’ve kept in contact ever since.