The vampire genre has become a significant cross to bear. Tainted in recent years by the likes of the widely reviled Twilight saga, the requisite Friedberg/Seltzer parodies (like Vampires Suck), and general overexposure on TV and film (Vampire Diaries, True Blood, etc.), it’s become a crowded field that’s difficult to pump fresh blood into. Mockumentaries seem nearly as omnipresent and disposable, making What We Do in the Shadows (which melds the two genres) an unlikely success. (more…)
An unholy love child of Robocop, Short Circuit and Cuba Gooding Jr.’s unintentional cringe-masterpiece Radio, the sci-fi comedy Chappie cribs from multiple sources but lacks heart, humour, satirical bite, or any discernible human emotions whatsoever. It’s a weird, uncomfortable genre mashup that feels disjointed and awkward throughout, which is exacerbated by the stunt casting of Die Antwoord rappers Ninja and Yo-landa Yisser as criminal versions of themselves. (more…)
The bootstrapping American Dream of Horatio Alger’s myths seem further away than ever. An eroding middle class, widespread globalization, ongoing conflicts, and the new normal of near-constant economic turmoil have made it abundantly clear that true “rags to riches” stories are few and far between. Yet there’s still opportunities to be had if you look hard enough, and one such boomtown is Williston, North Dakota. (more…)
St. Vincent (2014)
Dir: Theodore Melfi
Bill Murray’s place as an American Treasure is undeniable at this point. That status is bolstered not only by a legendary television and film career (which began with SNL and hit 80’s comedies followed by a transition into more dramatic work), but also by his mysterious and cantankerous persona (he’s only reachable by a 1-800 number, he’ll crash random parties, he’ll even approach random strangers on the street and state “No one will ever believe you”). With Murray, you’re never sure what you’re going to get, but at least it’ll be interesting. (more…)
Dumb and Dumber To (2014)
Dirs: Bobby Farrelly, Peter Farrelly
Remember those halcyon days before 2008’s Indiana-Jones-Movie-Which-Shall-Not-Be-Named when we all thought another adventure with the world’s best archaeologist would be a rollicking good time? Or how excited every card-carrying fanboy was to see Darth Vader’s origin story prior to 1999’s The Phantom Menace? (more…)
Kingsman: The Secret Service (2015)
Dir: Matthew Vaughn
Matthew Vaughn seems to be impatient. After just missing the opportunity to direct Daniel Craig in the James Bond reboot Casino Royale, he’s gone ahead and created his own coterie of distinctly British secret agents in Kingsman: The Secret Service. (more…)
Horror movies prey upon our fears, whether directly (being chased by an axe-wielding maniac) or indirectly (like The Shining‘s representation of alcoholism and obsession). David Cronenberg said, “I think of horror films as art, as films of confrontation,” and as the Godfather of Body Horror he knows a thing or two about slimy, icky messes that can turn your stomach. (more…)
Love Is Strange (2014)
Dir: Ira Sachs
A seemingly idyllic life is thrown into mild disarray in Ira Sachs’ low key and lyrical Love Is Strange, an examination of growing old in the modern world, personal boundaries, and the bonds of love. (more…)
Jupiter Ascending (2015)
Dirs: The Wachowskis
The Wachowskis’ latest opus is a space opera in the grand tradition of Star Wars – a straight-faced and earnest tale of rogues and neophytes up against an entrenched evil empire. (more…)
Wetlands (2014)
Dir: David Wnendt
For those who used to (or still do) endlessly pick at scabs and are fascinating by their own body’s weirdness, Wetlands is a perverse romantic comedy. For germaphobes and others who fear the squickiness of bodily functions and for those who carefully lay paper down on a public toilet seat, hover, or opt to wait until home, Wetlands is a horror film of the highest degree. (more…)
Glen On Film 