Daniel Roby’s deftly directed thriller Target Number One fictionalizes the true story of a Quebecois drug addict who was imprisoned in Thailand as a result of a set-up by Canadian intelligence in the 1980s. Taking some of its procedural cues from Spotlight, Target Number One is a kinetic, uncompromising look at the impacts and importance of journalism on the overreach of power in counter-intelligence.
Pontypool is one of my favourite movies, even though I really dislike its post-credit sequence. It’s a random bit that looks like a deleted scene from Robert Rodriguez’s Sin City series, featuring obscure characters that we haven’t seen before exchanging hard-boiled dialogue – it’s moody nonsense. It makes as much sense as the entirety of Dreamland, a pseudo-fantasy-noir that has the gall to ride the coattails of Pontypool; squandering the reunion of its filmmakers and…
Most movies build towards a crescendo, yet the first act of Ant Timpson’s Come to Daddy is the climax. But then, instead of gradually hitting new heights, Timpson’s film simmers to a tepid temperature. Despite the outrageous feedback you may have heard about the movie’s wild qualities, Come to Daddy is actually family tame (if you’re used to off-the-wall genre pieces).
A film can sometimes take so many risks, twists, and turns that the movie itself becomes borderline indescribable. Ant Timpson’s Come to Daddy falls in this camp, so how do I even begin to discuss it?
Juggernaut has an element it excels in – troubled characters gradually bringing their brooding funk to an explosive spill. I’d like to believe writer/director Daniel DiMarco is aware of how his film works, but the filmmaker consistently sidesteps around this area of strength. I don’t think DiMarco is clueless, but he’s making too much trouble for himself to seek out a challenge.
By: Nick van Dinther Some films can be accused of lazy storytelling and a lack of risk. Well, neither apply to Peter Lynch’s Birdland. Unfortunately, Lynch’s convoluted ambition makes Birdland a very difficult film to follow.
Will you find Awakening the Zodiac thrilling? Does the thought of rummaging through a mundane mystery excite you? How about if you’re rewarded with a looney final act that contradicts the film’s creeping atmosphere? This isn’t a good sell because you already know the disheartening answers.
Sami Khan’s indie drama Khoya is a captivating cascading trip through India as Indo-Canadian Roger (Rupak Ginn of TV’s Royal Pains) embarks on a quest to restore his birth history. But, when the film isn’t washing over the audience, the movie falters and indulges in its own mystery and melodrama.
Ethan Hawke (Before Sunrise, Boyhood) stars as east-coast jazz legend Chet Baker in Robert Budreau’s biographical drama Born to Be Blue, which focuses on the musician’s comeback during the 1960s and his struggle with addiction. The film, which was written, directed and produced by Budreau, chooses to examine a specific period of Baker’s career rather than the entirety of his career – a decision that results in a more intimate experience than one might expect…