Legend Review

0d21e23b-5de1-43a3-839f-693a9d0c1689-1020x612Seriously, how could two Tom Hardy’s go wrong? The actor behind the Mad Max revival, or the ridiculously fun role of Bane on The Dark Knight Rises, and he was absolutely perfect in Nicolas Winding Refn’s early masterpiece, Bronson. Joining with writer/director Brian Helgeland, Hardy has crafted two performances behind the supposedly legendary Kray Brothers, two siblings that ran the criminal underworld in Britain throughout the late 60’s and early 70’s. What is immediately apparent, is that these men may have been interesting back then, but their story has become derivative and the performances don’t fare much better. Continue reading

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The Tribe Review

14TRIBE2-articleLarge-v2Myroslav Slaboshpytskiy’s debut feature may be among the most frustrating film in years, for a select group of film-goers. Those select film-goers being the general public, but this movie seems to have been made for a specific type or person, the Arthouse snob. The Tribe is a beautifully shot and authentic feeling european film that harkens back to the silent era mixed in with the harsh reality of now. Make no mistake, The Tribe is, on the surface, an incredibly pretentious film, but it also stays increasingly fascinating over the course of the 2 hour and 20 minute running time. It turns out that making a movie using only Ukraine Sign Language isn’t as off putting as it sounds. Continue reading

The Hunger Games Mockingjay Part 2 Review

mockingjay-part-2-trailer-1137x758The Hunger Games franchise has lit up the cinematic conversation towards films directed for young people and women as an untapped market for large blockbuster films. Thanks to the surprisingly well done performances from Jennifer Lawrence across the board and some worthy direction by Constantine director and every Hunger Games film except for the first, Francis Lawrence (no relation to Jennifer), this franchise has tapped into the aforementioned market and made the series increasingly watchable for fans of these types of films. And after saying all of that, I should tell you that I have not enjoyed any of the prior Hunger Games films, nor gotten more than half an hour into the prior Mockingjay film. But I will also say that I was in for a surprise as to how much I found interesting in the final instalment. Continue reading

Victoria Review

The single take or one shot sequence, or whatever you want to call it, has been a consistently celebrated use of filmmaking to create a sense of reality or hyper-realism. The single take has been around almost as long as filmmaking actually has. From Hitchcock to this film, it has consistently gained more and more love from the critics and audiences themselves. But of course, the next logical conclusion from creating a small one take sequence to one that’s even longer is finally making a movie all in one uncut sequence. It takes a lot of discipline, but with a number of rehearsals and dedicated cast & crew, it can create a seamless feeling throughout the entire film. And that’s what Victoria does effortlessly. Continue reading

Spectre Review

James Bond is in a constant need to prove he’s still hip, current, and not obsolete. It’s not like anyone ever really thought that he was. But nonetheless, he has to prove to everyone that he isn’t. He’s already proved it to people who love poker, people who like deserts and shitty action sequences, and then people who love Javier Bardem chewing scenery and gay overtones in the relationship between Bardem’s Silva and Daniel Craig’s Bond. Now Bond is back to prove that once and for all, he’s with it, but now he has to tell it to Christoph Waltz and an unsubtle version of the NSA. Continue reading

Anomalisa Review | VIFF 2015

Charlie Kaufman is one of America’s preeminent writers of existentialism and nearly all other forms of humanity. Anomalisa is another example of Kaufman’s look into the droll life of a man, but with his usual quirks and outlooks on love and infidelity added in. With this film being served to the audiences in Kaufman’s first use of animation, there is sure to be some worry among his fans on whether his style can be translated in a different visual medium. It’s safe to say that being lost in this droll, ugly world has never looked so beautiful. Continue reading

Chevalier Review | VIFF 2015

Greek cinema has started a small, but powerful movement in film satire. As I mentioned in my review for The Lobster, Yorgos Lanthimos, and Chevalier director, Athina Rachel Tsangari, came into the arthouse scene by storm with the Oscar nominated Dogtooth, and Tsangari’s equally transgressive debut, Attenberg. Tsangari proved to be as big a talent as Lanthimos with her tale of sexuality and grief, ultimately gaining attention at the Venice Film Festival with a nomination for the Golden Lion. With Chevalier, Tsangari creates another story with sadness and reality, but doesn’t lose the humour that are found in the repertoire of the previous films in the Greek new wave, perhaps with even more laughs than before. Continue reading