I watch a lot of movies, so it seems to shock friends and co-workers any time I have not seen the popular movie of the moment as quickly as they have. I usually have the standard excuse of “It’s on the list” or “I’m waiting for Netflix”, but as must-see content continues to pile up on an almost hourly basis, I find myself consistently behind the curve. Quitting my full time job is not an option (especially when you’ve only recently become a full-time homeowner), so I’m constantly playing catch-up.
I say all of this, because the last few weeks have been dominated by discussions about Christmas, New Year’s, whether or not Die Hard is a Christmas movie (spoiler alert: It is), and Bird Box. The film premiered with little fanfare at AFI Fest in November (mostly because they cancelled their Red Carpet coverage out of respect for on-going wildfires terrorizing California at the time), but has since become one of the most watched original Netflix films, has inspired conspiracy theories about the veracity of the memes about the film being posted on Twitter, and now has inspired its own social media challenge related to activities being performed while blindfolded.
So yes, it makes sense that someone would be surprised I had not watched the film just yet. I made a point of fixing as soon as I possibly could.
Another year, another TIFF. It was my ninth year in a row of going to the festival, and my second time covering as Press — but first time where I actually used the pass as it was meant to be used. The less said about the last time, the better.
I watched 5 films before the festival, 44 films during (my own personal record!), attended 2 Press Conferences, 1 Jason Reitman Live Read (for The Breakfast Club no less), and even had some time leftover to skip a whole day to attend the wedding of a dear friend. Through all the smoking and deep, depressing films, I had a total blast and cannot wait for next year. Perhaps I’ll budget my sleeping better so I don’t doze through a good portion of a movie like The Old Man & The Gun? Probably not, but I can at least pretend that I’ll try.
I wrote quite a few words for Mr. Will Wong on a number of the films I had the opportunity to see, so here are the individual links to those reviews and the links to the Press Conferences I covered:
I didn’t hate Fifty Shades of Grey when I watched it at a packed screening back in 2015. And I didn’t hate Fifty Shades Darker when I watched in at home last Spring in all its timid “Unrated” glory. Both films were badly written and badly acted, but they were functional pieces of entertainment that were clearly not designed for me. They provided some intentional and unintentional laughs, and were not nearly as bad as some of the films I actually went to see purposely.
But the finale, Fifty Shades Freed — or climax as the posters so playfully tease — is a whole other beast entirely. And while I joked on Facebook that it was a “triumph of cinema”, it is easily the exact opposite.
After multiple release date changes and some troubling rumours, Netflix finally cleared up any and all confusion about The Cloverfield Paradox tonight. Once called God Particle, once called Cloverfield Station, we finally have the third entry in the loosely connected Cloverfield series. And despite some excitement earlier this evening with Netflix’s bold decision to drop a teaser during the Super Bowl — for a film that would start streaming immediately following the big game — the long awaited film is not all that great.
Rather than type up a full review (it is almost 2 AM after all), I figured I would just deliver a few thoughts on the film, and do my very best to avoid some of the more spoilerish elements. Continue Reading
#TIFF17 has come and gone, and like most years — it kicked my ass. I saw 32 films this year between Thursday September 7 and Friday September 15 (along with 4 before the festival even began), shattering my previous best of 25 films from previous years. And I tied my personal best number of films seen in 1 day at 5. I was hoping to see 6, but the combination of Revenge starting almost an hour late (at 1AM no less) and the eye-opening experience of watching mother! were a bit too much to handle. So while I am disappointed that I cut this year short, I am more than satisfied with what I did see.
I had a lot of activity going on Twitter reviewing all the films quickly, but did get to write out a few journals for the great Oscar-tracking site NextBestPicture.com. Here are the links to the journals filled with thoughts on the films I saw, as well as some of my experiences (including getting to tell Nicolas Cage he was my spirit animal!).
If anyone asked what my most anticipated film of the year was, I would be lying if I did not say Suicide Squad. Ever since it filmed in Toronto last spring, I have been waiting feverishly for its release. The prospect of seeing some of these wildly audacious characters on-screen for the first time was more than enough reason for this Batman fan to be excited, even if some of them are a little less well known than others. My faith was nearly broken by how disappointing Batman v Superman: Dawn of Justicewas a few months ago, but the wildly entertaining trailers for Suicide Squad kept my hopes high.
Then the negative reviews started popping up. And then a truly baffling petition to shut down Rotten Tomatoes went public. And now there are articles about some really messy behind-the-scenes drama. Surely DC and Warner Brothers would not let down all the fans and moviegoers who invested their time and faith into yet another comic book adaptation.
I have always loved Batman. I watched the VHS tape of Tim Burton’s 1989 film religiously as a kid, played with plenty of action figures and playsets, read the comics, watched all the movies, played the video games — I even wrote my fourth-year university thesis on the character’s representation in film up to that point. So no matter how good or bad the trailers for Batman v Superman: Dawn of Justice looked, I still held out hope it would be great and remained excited for its release.
As I wrote yesterday, I did not hateMan of Steel, nor do I hate director Zack Snyder’s admittedly uneven body of work. And while it used to be embarrassing to say out loud, I have always liked Ben Affleck as an actor and even more so as a director. So with tempered expectations, I ventured into the so-called “fight of the century” tonight knowing it was taking a beating from the critics. But can it really be that bad? Or was my faith rewarded?
It’s been a while since I’ve written one of these, but I’m hoping to start doing them a lot more often — along with a complete site refresh. And despite having a whole lot more to say, I figured this was the best film to restart with.
After rewatching Man of Steel for the third time, I still do not vehemently hate it as much as everyone else does. Yes, it changes the character irrevocably and yes, it really does feel like it should have been called Superman Begins with how closely it plays alongside the story beats of Batman Begins. But it is an entertaining and bold film, and one that actually made me like the character of Superman. No small feat since I have always been Team Batman.
I give credit mostly to Henry Cavill. He needs to stop yelling so much, but he brings a greater sense of gravitas to the role than anyone before. Christopher Reeve is the definitive Superman no doubt, but his take was larger than life. Cavill’s is more down to earth, more gritty and more real. We no longer look at him like he is an alien from another planet. We look at him like he is an extraordinary human being who can do things no one else can. And I think that alone makes him a stronger and more believable character.
The Gift got lost in the shuffle before TIFF earlier this year. I had heard increasingly great things about the average-looking thriller, and finally found some time to see it at the end of the summer. And now I regret not encouraging more people to check it out too. From the moment the film starts, it is anything but average.
Joel Edgerton (who was terrific in the under appreciated Black Mass) writes, directs and stars in this suspenseful gem that starts off akin to Fatal Attraction, before becoming its own scary thing entirely. It is easily one of the most unsettling films I have seen all year. It is the rare film that feels creepy and leaves you disturbed long after its twisty finale. The camera lingers too long on some moments, and adds some genuine horror to others. You expect some flaws from a first-time director, but Edgerton is a pro and makes you feel every range of emotion possible over the course of TheGift‘s lean 110-minute running time. Not one moment feels wasted, and it never really slows down. Edgerton is great in his supporting role, and Rebecca Hall is even better.
But the real standout is Jason Bateman. He plays the slimy prick character he has nearly perfected since Arrested Development, but he is completely devoid of all comedy here. And Edgerton taps into that archetype and turns it on its head, giving us what might be the best performance of Bateman’s career (Teen Wolf Too notwithstanding). It just feels so natural and brings a dramatic gravitas that you would have never expected from him. What easily could have been phoned in turns into a perception altering game changer. I have long waited for him to try something different, and hope he continues to be more daring in his future roles.
When Pixels came out earlier this year, everyone took their turns hating on it. I was excited to see it because of the Toronto connection (I walked through a literal war zone near my girlfriend’s apartment on Queen West), but there was not much else drawing me to it. And after watching the movie, I can say I did make the right decision skipping the theatre.
It’s not that Pixels is a bad movie — no, it is certainly far from. There is a lot of fun and wild imagination going into some of the battles with classic 1980’s video game characters. If you know the characters and the games, then you will be astounded by some of the details that have gone into bringing these characters to life. And they all look and sound authentic to the time period — a feat in itself considering the money that must have gone into licensing them all (Mario shows up for a brief cameo, and I’m sure that alone cost millions). It reminded me a lot of the wonder I had watching Who Framed Roger Rabbit? when I was a kid, and the fascination I have to this day of seeing Bugs Bunny and Mickey Mouse talking to each other.