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By: Myles Herod – Matthew Rankin’s Ladies and Gentlemen, Brian Mulroney operates like very few documentaries I’ve ever seen. In fairness, it’s actually more like a satirical genre-bending collage put to screen. Or as the Winnipeg director calls it: ‘Docufantasia’. Running at 105 mins, it’s a portrait of Canada’s 18th Prime Minister Brian Mulroney’s climb … Continue reading
By: Myles Herod – Christian Mungiu’s Fjord opens with the promise of reinvention: Mihai Gheorghiu (Sebastian Stan) and his wife Lisbet (Renate Reinsve) trade their Romanian life for almost mythical Norwegian shores. However, any tranquility they seek is quickly confronted. Turns out their traditional Christian lifestyle, so ordinary in their former country, becomes a source of unease in a … Continue reading
By: Myles Herod – Mike Leigh’s Tender Loving Care arrives with the authority of a filmmaker who has spent half a century studying ordinary people. At 83, he’s still capable of fusing tragedy and humour with scalpel‑like precision, crafting human stories that contemplate the fact that life trudges on, until it doesn’t. The film orbits … Continue reading
By: Myles Herod – Ostensibly a comedy, “Friendship” directed by Andrew DeYoung, has the hallmarks of a thriller, but we can’t put our finger on why that is. The film follows Craig Waterman (Tim Robinson), a suburban father and corporate schlub whose company develops apps making brands more addictive. Outside of work, Craig buys all … Continue reading
By: Myles Herod – If director Sean Baker were as good at writing as he is at visual style, “Anora” might have been worth its hype (winner of this year’s prestigious Cannes Palme d’Or ). He isn’t, and it isn’t. But that’s not to say it doesn’t try. Devised as his most accessible project yet, the … Continue reading
By: Myles Herod – Beginning with low-rent horror films in the 1970s, auteur David Cronenberg has moved film-by-film to the top of the ranks making him Canada’s elder statesman of cinema. Unhurried, talkative, and strangely haunting, “The Shrouds” is not a return to the body-horror of his earlier works like “Rabid,” “Videodrome,” or “The Fly”. Instead … Continue reading
