By: Trevor Chartrand Canadian filmmaker Virginia Abramovich makes her feature film debut with Between Waves, a captivating (albeit heavy-handed) exploration of mental illness and grief, framed through the sci-fi lens of inter-dimensional travel.
By: Trevor Chartrand Demonic is the most recent directorial effort from District 9’s Neill Blomkamp, and it’s a film that takes a fresh look at an otherwise tired and stale genre – the exorcism movie. Set in a contemporary world, Demonic would seamlessly fit into the Black Mirror series as an ominous cautionary tale of technology and its potential terrors. Rather than robotic military dogs or contact lens cameras though, the dangerous tech in this film…
An impressive cast, an experienced screenwriter, a respectable director, and an amazing fight choreographer have collaborated to make the staggeringly dull revenge thriller The Protégé, a film that is reminiscent of so many indulgent knockoffs of Quentin Tarantino’s work.
By: Trevor Chartrand Despite the promise of a wacky premise, Roller Squad disappoints. Its ambition and potential is overshadowed by a weak execution overall. In fairness, Berty Cadilhac’s movie may appeal to pre-teens looking up to some “rad skaters” and, I suppose, makes a good jumping-off point for young imaginations to build a world around. But as for the film itself, this series of goofy events featuring bumbling characters is ultimately a dud.
Mikey McMurran’s long-awaited sophomore effort The Final Ride reunites the filmmaker with headliners from his former horror flick Secret Santa. Watching this reunion made me nostalgic for Secret Santa; the humble “lil’ slasher that could” catching on through word-of-mouth and becoming a hot commodity at 2015’s Blood in the Snow Canadian Film Festival – midnight screenings were either sold-out or close to selling out. The Final Ride has that same Midnight Madness appeal, but it’s a…
By: Trevor Chartrand After experimenting with his very own superhero films, M. Night Shyamalan returns to classic form with his latest directorial effort, Old.
Zola, to an extent, is experimental with its narrative. While it flows coherently, the film is very much still in tune with its source material – a series of tweets explaining a story that’s “strange yet true” – and presents itself as someone spinning you a wild yarn (intercut with tangents and outbursts).
I find it strange that Blumhouse Productions would continue with The Purge series. Financial returns and core fanbase aside, The Purge had just about explored all of its themes, politics, and ideologies – and all of it was practically satirized in jet black manner with Blumhouse’s The Hunt. It’s almost expected that a new Purge movie would just be going through the motions, which is exactly what The Forever Purge does.
Genuinely creepy and a bit corny too, Let Us In is a fun sci-fi/horror that starts off strong, but doesn’t deliver in its third act.
Argentinian director Martín Kraut’s La Dosis (“The Dose”, in English) is a tight, engaging thriller that would be better off without the homophobic subtext.