Year: 2017 Runtime: 108 minutes Director: Angela Robinson Writer: Angela Robinson Stars: Rebecca Hall, Luke Evans, Bella Heathcote By Jenni Holtz All too often, biopics are dismissed, especially by younger audiences, for being boring or Oscar-bait-y. They tend to be successful with older moviegoers and award shows, but the response from younger viewers appears... Continue Reading →
Year: 2017 Runtime: 89 Minutes Director: Agnès Varda , JR Writer: Agnès Varda , JR Stars: Agnès Varda , JR By Caz Armstrong Euphoniously titled “Visages Villages” in the original French, this film won Varda a Best Documentary Oscar nomination, meaning she is the oldest person ever to have been nominated for an Oscar. “Faces... Continue Reading →
"The Babadook" is the type of horror flick I love; one where the threat — in this case, the monster — works as both an internal and external threat. The unique creature design is simultaneously whimsical and menacing. Think, the hybrid that one would get if they were to describe Nosferatu to a child and have that child illustrate the description.
A creative force to be reckoned with. This woman graduated as a dancer, choreographed dance shows, made music, directed plays and wrote and directed world-class movies. And all this output can be traced back to when she was the tender age of 14 and made her first 8mm films. Her name: Sally Potter.
If you have seen one or two Potter films, you may think that she broke or rejected the conventions of mainstream film making, but that isn’t quite right. What Potter does with her films is let them speak. The ideas within them come out in ways that are free forming and she follows the flow of them until they are completed films. They are not without structure or form; they are parts of the human condition that have been given freedom of expression.
People like to say that original movies are in short supply these days, swallowed up by the onslaught of comic book films, remakes/reboots, and live-action adaptations of 80s cartoons based on toys. Whilst there is truth to this observation, its conclusions are flawed. Not only have some incredibly bold and unique recent films come from pre-existing IP like "The Lego Movie", "Mad Max: Fury Road" and "Spider-Man: Into the Spider-Verse", but so-called “original” films are often just as guilty of recycling and retrofitting the concepts of the past.
Quentin Tarantino and Edgar Wright have made their entire careers out of essentially crafting extended tributes to their childhood favourites, communicating their own perspectives and ideas through the lens of pulp genre cinema.
“American Mary” (2012) is a criminally underrated dark comedy and horror film directed by Jen and Sylvia Soska. Due to its subject matter and gore, it was not widely released. It was released to V.O.D. and DVD quickly, though, helping the film amass a cult following. “American Mary” is often left out in discussions about women in horror. It’s overshadowed by more popular cult classics like “Jennifer’s Body” and “The Descent” — both of which are vital to discussions about women in horror — but it’s a mistake to ignore “American Mary.” The film is disgusting, cathartic and creative. It deserves to be ranked amongst the best body horror and rape revenge films of the past decade.
A double-crossed hit man finds himself on the run with a mysterious young woman in Galveston (2018), a film that starts off like a dramatic thriller but winds up, like its characters, on an unexpected and affecting journey.
As hard as it is to believe, Jodie Foster allegedly once said, "Acting, for me, is exhausting. I’m more energized by directing. It’s more intense to direct. I can pop in and express myself, then pop out again. It’s a huge passion for me." So why hasn’t she directed as much as she might have?
Film is comprised of two elements; image and sound. For generations, filmmakers from all walks of life have utilized these two elements to create tapestries for audiences to get immersed in. But only a select few directors in film history have utilized these elements in tandem. There was Stanley Kubrick, David Lynch, and now there’s Lynne Ramsay.