This year’s Canadian Film Festival closes with Jaren Hayman’s well rounded documentary, This is North Preston, a look at what rightfully and wrongfully is one of Canada’s most maligned, feared, and somewhat misunderstood communities.
Although it still succumbs to a lot of the cliches and tropes that populate most biopics made about rock stars, there’s something about the already somewhat corny and overall tongue-in-cheek nature of Mötley Crüe that makes The Dirt surprisingly more likable and easily digestible than many of its higher minded contemporaries.
Limp, frustrating, and trying laboriously to sound as edgy and transgressive as possible, Pond Life is a stage-to-screen adaptation that not only can’t escape its roots, but will likely make viewers question if the material was ever that good to begin with.
With his most assured film to date, The Hummingbird Project, Canadian filmmaker Kim Nguyen takes a potentially numbing, dull, and inscrutable premise and mines it for a great amount of drama and tension.
Packed to bursting with subtext, laughs, shocks, and genuinely terrifying scares, Jordan Peele’s second feature film, Us, will satisfy casual genre fans and devotees of auteur driven cinema equally, but those in the latter category will probably spend more time piecing together what it all could mean.
Aaron Abrams delivers a towering and commanding lead performance in writer-director Jesse Zigelstein’s debut feature, Nose to Tail, the story of an egotistical and stressed out business owner who’s about to reach his wit’s end.
This year’s Canadian Film Festival – an annual celebration of independent Canadian cinema – kicks off with the solidly constructed and emotionally endearing high concept “meet cute” Red Rover.
Julie Hagerty is a comedy legend, and it goes well beyond her role in Airplane! She’s had hilarious recurring roles in Malcolm in the Middle, and as Carol West in Family Guy, not to mention work in dozens of other films and TV series.
At a long, glass conference table I sit across from Debbie Spence conversing with her about the surging film scene in Hamilton; a scene that has been in full vigor for quite some time.
War is hell, and it’s even more hellish in director Julius Avery’s mashup war/horror film, Overlord. Set on the eve of D-Day, in 1944, the film follows American soldiers who discover a Nazi experiment that brings the dead back to fight again.