Dad & Step-Dad

Sporting an unstoppable slew of passive-aggressive, allegedly improvised, humour and a refreshing spin on man-child comedies, Dad & Step-Dad is one of the funniest films ever made. Don’t believe me? How about if I told you I’ve watched Dad & Step-Dad four times, and have doubled over with hearty laughs with each viewing? How about if I told you I’m worried that my fifth viewing will put me in the hospital?


Villains Inc.

After watching kids have a ball with subversive superhero fodder like Megamind, The Bad Guys, and the Despicable Me franchise, older audiences finally get to have their fun with Villains Inc.  But instead of assuming that adults want another frenetic flick with balls-to-the-wall violence and a four-to-twelve-letter colourful dialect (ala Kick-Ass and its sequel), Villains Inc. works within a more patient element with organic wit while outrageous characters build charismatic rhythms.



With only two features under their belt, married filmmakers Dane Clark and Linsey Stewart have demonstrated that a story can be singlehandedly developed on a unique and personal dynamic between two characters. While their debut indie I Put A Hit On You may have fizzled after liftoff, their sophomore effort Suze shows growth in all the right areas; resulting in an absolute crowd-pleasing charmer.


Love in Dangerous Times

Written and directed by Jon Garcia, Love in Dangerous Times is among the first of what is sure to be a plethora of pandemic-themed projects that will emerge over the coming months, and even years.  Written and filmed entirely in lockdown, the film follows Jason (Ian Stout), a struggling playwright searching for love in the early days of the coronavirus pandemic.


Battle Scars

I don’t think it’s always required for a filmmaker to have an opinion about war if their movie is about war. Sometimes, the movie simply exists to entertain or educate about a significant historical event. But, if a filmmaker was to tell a story about the effects of war (primarily the long-term psychological impact), I feel like the filmmaker should use the platform to send a message about the value of combat.


Wylie Writes’ One-On-One with Kire Paputts

Director Kire Paputts follows up his modest feature debut The Rainbow Kid with The Last Porno Show, an envelope-pushing character drama chronicling the personal arc of an aspiring actor taking over his estranged father’s faded adults-only move theatre.  It’s a really good movie that doesn’t shy away from anything and bares it all.  It stuck to me like shoes to the floor of a sold-out screening room.


The Rest of Us

The Rest of Us needs a low triple-digit runtime, but sets up a needless challenge for itself to tell its story in under 80 minutes.  What’s the hurry?  And if filmmaker Aisling Chin-Yee has to compromise the narrative with condensed scenes and sharp edits to win the challenge, what’s the point?