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.
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).
The Incoherents is a charming, if somewhat cheesy and predictable, comedy that follows four forty-something men who attempt to revive their dreams of rock stardom by reuniting their old band.
Intended as a sequel, of sorts, to Braveheart, Robert the Bruce sees Angus MacFadyen (Braveheart, Alive) reprise his role as the titular Scottish king. Unfortunately, this is one of those movies with all the right ingredients – but no spark.
Abominable (not to be confused with last year’s animated film) is a film that I know I’m going to watch more than once, but that isn’t to say it’s good.
One thing that can be said in Hope Gap’s favour is that it has a strong sense of place. Filmed in Seaford, Sussex, the stunning white cliffs, quaint village streets, and the dark stone beaches are displayed wonderfully. Hope Gap is, at points, a visually beautiful film; unfortunately, it isn’t a particularly interesting one.
As 2019’s awards season comes to a close with the upcoming Oscars ceremony on February 9, the critics at Wylie Writes would like to shine a spotlight on the movies they thought were the very best of the year – including some festival favourites that will receive wider releases this year.
Road to the Lemon Grove is at its best when it indulges fully in its love affair with Sicily. Montages of food in market stalls, picturesque coastlines, narrow streets, fruit trees, donkeys – these are the most pleasurable moments in the film. Unfortunately, they are all too frequently interrupted by a forced plot, underdeveloped characters, and an awkward premise.
Furie, the highest grossing Vietnamese movie of all time, took North America’s digital platform by storm last month. What’s perhaps even more notable is how the vehicle has propelled Veronia Ngo to action heroine status. Ngo (Bright, Star Wars: The Last Jedi) stars as provoked mother Hai Phuong who will do anything (and fight anyone) to save her kidnapped daughter.
Directed and Written by Katherine Jerkovic, Roads in February is a beautifully shot and immersive film that explores the relationship between a young Hispanic Canadian named Sara (Arlen Aguayo-Stewart), and her grandmother (Gloria Demassi).