By: Addison Wylie Acting as this year’s Fame High at TIFF Next Wave, I Learn America is also about a select group of students who attend high school and face frequent obstacles. In Fame High, those students were hampered when chasing a creative dream. In I Learn America, these young immigrants try and understand the American dream. New York City’s Lafayette is the home of International High School. The school opens its doors for nearly…
By: Addison Wylie Tali Barde’s feature film debut For No Eyes Only is set as a tense thriller adding a modern twist to Alfred Hitchcock’s Rear Window. It doesn’t come through on being a thriller. Instead, it’s accidentally profound. What I admired most about For No Eyes Only is Barde’s perceptual take on modern day voyeurism without being too on the nose. Sam (a mopey loner played convincingly by newcomer Benedict Sieverding) suffers from a…
Upon the invention of this series, I was hoping Does It Float? would successfully show how a movie can be conceived in different ways. It doesn’t always have to be a positive experience turning into a negative one or vice versa, however. Maybe a movie could still be a solid watch on separate occasions for different reasons. Who would’ve guessed Joseph Gordon-Levitt’s feature length directorial debut Don Jon would be that film to prove this? Don Jon was the first TIFF film…
By: Addison Wylie Drafthouse Films has taken Giulio Paradisi’s director’s cut to his very strange 1979 sci-fi flick The Visitor and are unleashing it to the public in a newly remastered mode. There are a lot of uncanny compositions of malificent behaviour that especially punch out. These set a tone incredibly fast and have the power to make you immediately feel at unease. Confusion runs rampant throughout The Visitor, and for the most part, it’s…
By: Addison Wylie The latest film from french filmmaker Claire Denis deals with people grieving and coping. The situations are bleak and only become more sullen. It’s particularly unsettling due to Denis taking a very close look into these troubled lives, adding a very personal vibe to the dreariness. This confidential approach serves Bastards well when Denis and her actors can gel on the same intimate level. Scenes involving drawn out foreplay and sex between…
The Newton Brothers have ears for music and a drive like no other. Not only has the duo – who is made up by Andy Grush (right) and Taylor Stewart (left) – dabbled in many different genres, but the pair have taken on a hefty load producing musical scores for seven films in eight months. Grush and Stewart attended TIFF earlier this month to support three films they were apart of. Oculus directed by Mike…
By: Addison Wylie It’s neat to watch a subject take on an evolution people didn’t see coming. In Red Obsession’s case, that subject is wine – and it’s progression isn’t pleasing everybody. Documentary filmmakers David Roach and Warwick Ross capture a timeline that shows how wine went from something that was considered an art, to a product that is more of a business decision than anything. The price of wine keeps on climbing to a…
Well, now that TIFF has come to an end, let’s take a trip back to August. If you can believe it, August was busier than my experience with the Toronto International Film Festival. At Film Army, I was checking out different programmes hosted by Toronto’s TIFF Bell Lightbox, watching smaller independent fare, as well as getting ready for TIFF while setting up IFFFT coverage – the International Fetish Film Festival Toronto. It’s great to cover…
By: Addison Wylie Kevin MacDonald’s adaptation of Meg Rosoff’s novel How I Live Now is a bit of a struggle for movie goers trying to figure out what type of movie this is. Mostly because How I Live Now has two sets of confusion working for and against it. MacDonald begins his film on an aggressive note to mirror the personality of our lead, Daisy (played by Saoirse Ronan). While it fulfils its goal, the rebellious…
By: Addison Wylie In terms of being a worthwhile cop drama, McCanick won’t astound movie goers, but it certainly does the trick. The problem with McCanick is that it has a really hard time trying to escape the shadow of other more successful cop dramas like Training Day and more recent middle-of-the-road fare brought to us by Antoine Fuqua. Josh C. Waller’s film allows David Morse to take a break from being a quirky supporting character…