Though it may be a schlocky action movie, I don’t have distain towards 211. Mostly because there’s something oddly endearing about a low-rent flick that doesn’t let up on its action sequences.
Filmmakers Cristina Gallego and Ciro Guerra follow-up their Oscar nominated feature film Embrace of the Serpent with Birds of Passage, a sprawling drama about Columbian drug cartels. The story’s primary focus is Raphayet (José Acosta), an average bachelor who becomes involved with drug trafficking, gradually becoming a notorious name in the dangerous culture.
Nowhere is difficult to discuss without skimming spoilers, especially since the film deserves to stay a secret for new audiences. What I can safely share is that this thriller is comparable to last year’s winner Searching. But, while both movies are about a parent trying to find their missing child, each movie has its own efficient approach.
Comedienne Amy Schumer is at her best when she’s in unfamiliar waters and vocalizing about it. By being incredibly observant and quick-witted, she forms a unique and bold perspective that humorously addresses relatable hesitation. This transferable approach is why her film roles have worked for me as well (Trainwreck, Snatched, I Feel Pretty).
In the heart of Toronto’s entertainment district, high-end restaurants hold their own against competition and stress, or so we assume. This facade, however, becomes too much for Daniel, a well-versed chef with a bad reputation and unhealthy work ethic. Over the span of a day in Nose to Tail, Daniel’s life spins out of control as his attitude costs him his staff and his family, and possibly the last chance he’ll get in the business.
The selling point of For Love or Money is the outrageous premise that’s established well in the trailer. It offers a familiar dynamic, but is so suggestive towards the film’s comedic potential that viewers are naturally reeled in. If you enjoyed How to Lose a Guy in 10 Days or What Happens in Vegas, here’s a movie for you.
Benedikt Erlingsson must be a gambling man. With his new film Woman at War, he pushes the limit on imagination; crossing the narrative with elements of a thriller and a deadpan comedy. But like a gambler with no self-control, Erlingsson overestimates his luck; spinning the film’s results into a somewhat smug affair.
The work I’ve seen from French-Canadian filmmaker Denis Côté all involve the subject of lost souls. Carcasses was a pseudo-doc about a lonely scrapyard owner who is suddenly interrupted by a gang of wanderers, and Curling followed the faded relationship between a father and his daughter in the wake of a tragedy.
By: Trevor Chartrand A surprising and VERY unique take on the buddy-comedy, To Dust is a thoughtful and inspired look at grief – with plenty of well-timed comedic wit. It’s a premise we’ve all heard before, with two unlikely companions teaming up to reach a common goal, however the approach and style this film takes is a brand entirely its own.
Peter Farrelly’s Oscar-winning film Green Book has proven to be a divisive film for audiences, which is strange considering it fits the bill to be a general crowd-pleaser.