By: Trevor Chartrand For years, filmmakers have pondered the potentially apocalyptic dangers of self-aware, sentient computers: from Kubrick to the Wachowski’s, and everything in between.  The machine uprising is an all-too-common cautionary tale, but has also never been more relevant than it is today.  With deepfakes and ChatGPT, it appears we are closer than we’ve ever been to this trope becoming a reality.  So the timing is right for director Spencer Brown to throw his…



By: Trevor Chartrand Director Marc Turtletaub, who helmed 2018’s thought-provoking drama Puzzle, delivers warm-and-fuzzies once again with this sophomore indie, Jules.  This surprisingly entertaining film is sweet, endearing, and often laugh-out-loud funny.



Simulant is a good recommendation for those looking for a solid sci-fi action/thriller and in-the-moment entertainment.  The film doesn’t have much resonance after the credits roll, but I thoroughly enjoyed being in this futuristic story that’s executed well enough by director April Mullen (88, Farhope Tower, Badsville) and adequately written by screenwriter Ryan Christopher Churchill.


Infinity Pool Uncut

In a plot that would make any vacationer anxious, and in the “not too distant future”, novelist James Foster (Alexander Skarsgård) and his wife Em (Cleopatra Coleman) are suckered into a crime that develops into an additional crime during a getaway at a luxurious resort.  James, who becomes the most guilty, is given the choice to opt out of his execution if he pays a lump sum of cash for a clone to be made…



Jordan Peele has quickly proven to be a filmmaker with a lot on his mind, which he then translates effortlessly to the screen.  His intelligent writing for Get Out earned him an Oscar, and Us convinced audiences that Peele’s feature-length debut wasn’t just a fluke.  Peele’s third film, Nope, allows the writer/director to expand his scope;  both with his screenwriting and as a visual storyteller.

Festival Coverage

Toronto After Dark 2022: ‘The Lair’

Neil Marshall (Dog Soldiers, Doomsday, Hellboy) knows how to make a horror film.  The writer/director is responsible for the early 2000’s cult classic The Descent, a film that has been praised for its mature characterization of a group of women (a relatively novel concept, as far as early ’00s horror was concerned).  In addition to its dramatic and psychological elements, The Descent was also freaking terrifying.  Even the toughest, most hardened horror fans are quick to admit…



Natalie Kennedy’s Blank is the latest addition to the “tech gone wrong” sci-fi sub-genre.  This time: an A.I. controlled retreat goes awry after a malware infection traps a creatively-stunted writer, Claire (Rachel Shelley), until they can finish their book.  However, the malfunction triggers a loop causing Claire’s “ideal” assistant, Rita (Heida Reed), to frequently reset and welcome in unpredictable and dangerous mechanical quirks.


Crimes of the Future

As much as I would love to compare David Cronenberg’s Crimes of the Future to his earlier horrors, I’m afraid I’m unqualified because I haven’t seen enough of that catalogue.  However, I can see a contrast between the Canadian’s long-awaited return to filmmaking and his other recent dramatic work such as A History of Violence, Eastern Promises, and A Dangerous Method – all of which also star Viggo Mortensen.  Crimes of the Future, a gruesome…