Shannon Page
A Fire in the Cold Season
Strong performances and a moving score elevate A Fire in the Cold Season, a thriller that offers few genuine thrills.
The Last Laugh
For a movie about comedians, writer/director Jeremy Berg’s The Last Laugh is utterly void of mirth. Unfortunately, this isn’t just a film that takes itself far too seriously – it lacks vibrancy and life all together.
DTF
What begins as an attempt to record a widowed, middle-aged pilot’s efforts to find true love on the dating app Tinder quickly morphs into something much darker and chaotic in director Al Bailey’s documentary DTF. As the pilot in question, an old friend of Bailey’s identified only by the pseudonym “Christian”, reveals increasingly outlandish and destructive behavior, the original premise of the film is abandoned in favour of an exploration of the toxic, hard-partying world…
Odd Man Rush
Odd Man Rush is surprisingly sweet and thoughtful for a film that revolves around hockey. Unfortunately, a meandering pace prevents this sports-centric flick from being a true breakaway.
Uncle Peckerhead
The first hurdle of any music-centric film is often the most difficult to clear: the music itself. It’s difficult to get the audience to root for the heroes if their band’s sound is cringe-inducing. Or, even worse, if it’s just plain boring.
Black Water: Abyss
In Andrew Trauki’s Black Water: Abyss, five friends set out to investigate an unexplored cave system in Australia, only to discover that the cave is inhabited by a crocodile with a hankering for fresh meat. It’s a bit like someone decided it would be a good idea to mash together Lake Placid and The Descent (two movies I adore, despite their flaws) – but unfortunately, Black Water: Abyss lacks both the campy charm of the…
Babysplitters
Babysplitters centers on one man’s reluctance to commit to fatherhood. Ironically, the film itself doesn’t commit to its awkward humour or its exploration of unconventional families.
The Departure
There is nothing charming, insightful, or engaging about The Departure, writer/director Merland Hoxha’s first foray into feature-ish length cinema (the total runtime is just a little over an hour).