Take One Action Film Festival: “Prison For Profit”

Year: 2020 Runtime: 83 Minutes Directors: Femke van Velzen, Isle van Velzen By Tom Moore In “Prison for Profit,” documentarians Femke van Velzen and Isle van Velzen create a gut-wrenching exposé that centers on an investigative journalist’s findings about South Africa’s first privatized prison – where profit comes before safety. British private security firm G4S runs Mangaung prison, where journalist Ruth Hopkins investigated the treatment … Continue reading Take One Action Film Festival: “Prison For Profit”

Take One Action Film Festival: “Coded Bias”

Year: 2020Runtime: 90 minutesDirector: Shalini Kantayya By Caz Armstrong What if the computers making hugely important decisions about your life were riddled with built-in biases that perpetuated unfairness? And there was almost nothing you could do to stop it? Well, I hate to break it to you, but the documentary “Coded Bias” highlights the ways in which algorithms exacerbate inequalities in society — and it … Continue reading Take One Action Film Festival: “Coded Bias”

ITOL Editorial: We Need To Do Better

When I first heard of the discrepancies between the amount of male film critics versus female film critics, I knew that I really wanted to do something to make a difference. I wasn’t sure what, but I knew I had to try and help amplify the voices of female, trans gendered and non-binary film critics. The beauty of film is that it’s truly unlike any other form of art, it’s something that can be easily accessible to so many of us unlike theatre for example. A good or even a bad film can connect with us and inspire discussion. Everybody, from all walks of life, watches and enjoys film in some form or another. So, why should only an elite few get to participate in the discussion? Continue reading ITOL Editorial: We Need To Do Better

A Sort of ‘Review’ of Dollhouse: The Eradication of Female Subjectivity from American Popular Culture

After watching “Dollhouse” I was left feeling that the film was simply an excuse for Brending to express her personal grudges against the trans community. I’m not sure whether this film will hinder her career or not especially considering the current climate. However, the simple fact that it’s been made and screened at Slamdance film festival proves she’s not being oppressed. Her voice is being given a platform. How many trans filmmakers have been able to get their films made and screened at Slamdance, I wonder? Continue reading A Sort of ‘Review’ of Dollhouse: The Eradication of Female Subjectivity from American Popular Culture

The Terror of TERFs Revealed in “Midsommar’s” Summertime Setting

The last scenes of Ari Aster’s premier horror masterpiece “Hereditary” (2018) take viewers through a winding middle-American manor, with dysfunctional family dynamics incarnated as demons in the eerie night-time environment. Aster abandons this classic horror imagery for a more subversive setting in “Midsommar” (2019), where his familiar formula of manifesting the characters’ resentments towards one another as violent retribution instead takes place in the long-lasting daylight of a secluded, Scandinavian commune. Continue reading The Terror of TERFs Revealed in “Midsommar’s” Summertime Setting

Review: John Lewis: Good Trouble

The United States feels like it’s at another turning point in its social history. Rebelling against injustice and protesting for change are things built into its core. There could not be a more perfect time for a documentary like Dawn Porter’s “John Lewis: Good Trouble” (2020) to be released. For those unfamiliar with John Lewis, he’s a Congressman representing the state of Georgia, who is well known for his history of non-violent activism during the Civil Rights Movement of the 1950s and 60s and his particular dedication to voting rights. Continue reading Review: John Lewis: Good Trouble

Pride: A queer, socialist call-to-arms for 2020

As of writing, there are people of all ages and walks of life protesting systemic racism on the streets of the United Kingdom. There’s also a pandemic on, with many accusing the Tory government of exacerbating the UK’s horrifying death toll. So to say that “Pride” (2014) might have something to offer the average Brit right now is a bit of an understatement. Continue reading Pride: A queer, socialist call-to-arms for 2020

Editorial: White People, You Gotta Stop Watching “The Help”

Given that the systematic racism perpetuated against Black people is now in the forefront of the news, white people are trying to understand the insidiousness of racism in white society. It is not just the United States that is racist, though we elected a man who is blatant racist. The racism in the United Kingdom and Australia is also being noticed. But, given that George Floyd, Breonna Taylor, Tony McDade, Ahmaud Arbery, and countless others were killed in the U.S., we are currently under a microscope. Continue reading Editorial: White People, You Gotta Stop Watching “The Help”

Review: Nevertheless

Year: 2020 Runtime: 80 Minutes Director: Sarah Moshman By Erica Richards “Nevertheless” hits the ground running at full speed and does not hold back. So, prepare and buckle up—otherwise you will be left in the dust. This is one of those documentaries that I passionately believe every person can benefit from watching and should watch, if you are able to. If for nothing else than … Continue reading Review: Nevertheless

Spotlight: Audrey Hepburn

May 4th marks Audrey Hepburn’s 91st birthday.  Hepburn is remembered for her many iconic roles.  From Holly Golightly in “Breakfast at Tiffany’s” (1961) to Eliza Doolittle in “My Fair Lady” (1964) to Princess Ann in “Roman Holiday” (1953), Hepburn was captivating on-screen.

My personal favourite films of hers are “Charade” (1963) and “Wait Until Dark” (1967).  “Charade” was a smart comedy.  Her banter with Cary Grant was superb.  And I appreciate that she squashed the romantic storyline of the film because of the significant age difference between her and Grant.  Iconic.  Meanwhile, “Wait Until Dark” was much, um, darker, than any other works before.  Hepburn stars as a recently blinded woman who accidentally has a doll full of heroin in her possession.  Alan Arkin plays the drug dealer needing to get his product back.  It is an intriguing and intense cat and mouse game which culminates at the climax of the film where Arkin chases Hepburn through a pitch-black apartment.  It is horrifying, terrifying, stressful, and made watching “Little Miss Sunshine” (2006) a bit difficult for a while. Continue reading Spotlight: Audrey Hepburn