The Hyperborean has been written and directed by filmmakers who have been serving a 10-year sentence in my personal “movie jail” since being responsible for the gross-out body horror Septic Man. After missing their recent collaborations, director Jesse Thomas Cook and screenwriter Tony Burgess have appeared on my radar with their latest sci-fi mashup The Hyperborean and, thankfully, it’s pretty good.
By: Trevor Chartrand As a film that explores the creative process, Ryan M. Andrews’ Art of Obsession fails to bring much originality to the table. This slow-paced, predictable little story takes itself too seriously, grasping aimlessly at faux-philosophical musings all along the way. The film is an unfortunate mix of unconvincing plot, passionless performances, and a non-existent visual style. It’s the kind of film I can still enjoy, however with a more ironic appreciation than…
Filmmaker Reese Eveneshen seems to be his own worst enemy with his latest project Defective. On one hand, on a limited budget, he’s developed Toronto into a nameless city living in a convincing dystopia. The visuals are on par with the works of Neill Blomkamp (District 9, Elysium). However, Eveneshen’s overwritten screenplay becomes so convoluted, it reaches a point of no return.
As a film critic, you try your hardest not to be jaded. However, I find myself struggling not to make blasé comments about Black Fawn Films’ latest horror movie The Heretics.
By: Addison Wylie Fed-up filmmaker Crystal, her procedural producer Dawn, and her colourful actresses travel to different theatres to screen their new film in Ryan M. Andrews’ Save Yourself. Any festival goer will familiarize with the film’s first act taking place in a packed theatre as drama unfolds behind-the-scenes. Those same patrons will also start eagerly guessing where Save Yourself is headed once the characters hit the road.
By: Addison Wylie Director Gabriel Carrer’s screenplay of The Demolisher is practically speechless until 18-minutes into the film. However, the audience is so acquainted with the heart-aching leads by then, that Carrer’s film could’ve gotten away with completely being a silent film. If film critic-turned-filmmaker Chris Alexander is carrying out a similar yet more minimalist approach with the horror genre, Carrer could’ve done the same with this crime thriller. Nonetheless, The Demolisher is really good. And…