The arrival of Dead Rush’s world premiere at this year’s Canadian Film Fest came at a coincidental time. On April 8, Ilya Naishuller’s Hardcore Henry hits theatres. Both films are very good genre flicks that position the viewer in the lead character’s perspective. As far as which film has a cleaner landing though, Dead Rush has the edge.
After watching younger filmmakers at work, viewers hope to walk away with a bit of pep in their step feeling hopeful about the future of movies. I knew going into Hostile that the horror film was written/directed by teenager Nathan Ambrosioni, and I did leave feeling elated. Not only that, but Hostile was also really good.
Just like staring at an inkblot, “random” and “strange” are the first words that spring to mind if I had to describe Frank D’Angelo’s Sicilian Vampire to movie goers. However, the oddities give D’Angelo’s film a fever dream allure – it’s entertaining one way or another.
Burr Steers’ Pride and Prejudice and Zombies arrives at an awkward time for horror mash-ups.
Most of what Yoav and Doron Paz offer movie goers in their horror film JeruZalem feels re-gifted. We’ve seen this sort of panicked science fiction in films before – from tent-pole thrillers like Cloverfield to foreign imports like [REC]. While that may sound like the “jaded critic” side transforming me as one of the film’s demons would, I feel like I have a legitimate argument.
The Orange Man is voluntarily uneven. After presenting itself as slasher horror, the film has a change of heart and decides to be a break-up comedy for bros, and then flip-flops some more. It’s a shame since the slasher bits are the most fun.
Update (11/27/16): Addison Wylie’s original review of The Sublet was posted on 12/09/15 for the film’s SuperChannel premiere. However, due to the film’s Toronto premiere at this year’s Blood in the Snow Canadian Film Festival, the screening information located at the bottom of this article has been updated. John Ainslie’s The Sublet is pretty creepy, but it’s also a testament to how gifted of an actress Tianna Nori really is.
By: Mark Barber Chris Trebilcock’s The Dark Stranger understands that the power of horror is derived in part not from its tonal seriousness but from its ability to confront the issues in ways that are creatively charged. Taking on the issue of depression, The Dark Stranger might take some flak for what at times feels like a facile exploration of depression. However, Trebilcock deserves praise for creatively literalizing the demons we face as a means…
