Tenet

Despite the standard cliche, I don’t remember ever literally being on the edge of my seat during a movie, but there are some movies that make me sit up a little straighter and pay very close attention. Tenet was one of those movies. I wasn’t really all that surprised that I enjoyed Tenet; Christopher Nolan is one of my favourite directors working today (or really, ever), and I’ve been a fan of all of his movies to date. Nolan is one of the few modern directors who is able to effectively blend the auteur and blockbuster approach to craft films that are truly epic in scale but at their core are stories about people and that both pose and explore questions about the human condition in an intelligent way. In that way, Nolan is heir apparent to the original generation of auteur film makers who essentially invented the blockbuster like Steven Spielberg and George Lucas. And like Spielberg and Lucas, Christopher Nolan is primarily concerned with telling original stories about larger than life events anchored with fully fleshed out human characters (and a…

Iron Man 3

In the seven years since Iron Man 3 was released, I had the impression that there was a consensus that this film was one of the worst of the MCU lineup, but as I revisited the film recently, I found very little to actually dislike. Coming off The Avengers event film, the third entry in Tony Stark’s solo films was going to be in a precarious situation, and I feel as though they did a pretty solid job. Tony is suffering from PTSD, resulting in a bit of a harder edge to the comedy, leaning into a bit of self-deprecation and moving away from the arrogant playboy in previous films. His friends seem to tip-toe around him, trying to take as much responsibility away as possible, although – to be fair – the film doesn’t really hit up the dynamics between Tony and Pepper and Happy, practically writing Happy out of the majority of the film. It makes sense to evolve Tony and Pepper’s relationship, but she comes across as a bit exhausted of his antics, either ignoring his mental…

Possessor

There seems to be a bit of marketing around this film that pushes it as the “uncut” version, which is usually reserved for home video releases and results in a rather dubious difference in content of the film. However, we’re talking about the Cronenberg family in this case, and the small theatrical run during this pandemic is perhaps allowing such a cut of film to grace the big screen. As I stumbled across snippet-sized details of Brandon Cronenberg’s latest film over the past few months, I absolutely tried to minimize how much I knew about the film going into it, allowing the poster to speak for itself. The Possessor Uncut disclaimer comes up on screen before the movie gets going, making me all the more aware that this should be quite the ride, and a ride, it was. There are boundary pushing images and scenes on display here, but at no point does this feel exploitative or irrelevant to the story and characters. You become acutely aware of when the camera would normally cut away, or show us a different…

Underworld

Revisiting the original Underworld proved to be surprisingly refreshing and I was taken aback and just how glued I was to the screen. For this screening I decided to watch the extended cut, which apparently adds about 12 minutes (making the film a convenient two hours and twelve minutes) and I’ll be honest in saying that I couldn’t see what was added or replaced, although I’m not going to pretend to be an expert on the original cut of the film. Indeed, I watched the film in cinemas back in 2003 and maybe once after, although there were a decent number of memorable moments and scenes that stuck with me for a while, although it’s worth noting that I retained nothing of the story or plot, save for the basic werewolves versus vampires driving force. It was a pleasant surprise then, that the film didn’t stick me with a ton of exposition at the beginning; we’re dropped into the action right off the bat with just a brief introduction to Selene (Kate Beckinsale) and her “Death Dealer” squad, as they chase down a pack of werewolves into the…

The Wolf of Snow Hollow

When I first saw a preview for The Wolf of Snow Hollow, I was immediately invested. Everything seemed to check off this unknown list within my mind: werewolves, small towns, snow, mountains, dark humour, comedy, and horror, to name a few. I had seen Jim Cummings’ Thunder Road last year and enjoyed it enough that I often think about it and was intrigued with what Jim would come up with next. He has a way of writing his characters that straddle the line between likeability and distaste, and I would say that Snow Hollow tests those boundaries to a point that has me questioning my enjoyment of the movie. The plot is familiar as werewolf movies go: on each full moon bodies are found, and our local small-town police force struggles to find any compelling evidence or follow any leads. The difference here between any similarly-plotted movie is the characters, who are the central focus of Snow Hollow. Jim Cumming plays – again – a cop named John, with significant issues and stresses; he’s not a warm, genial small town…

The Fly II

I was quite taken aback with how captivating this film was; it probably helps that I entered into the viewing with fairly low expectations. I had just listened to a podcast about Cronenberg’s remake of the Fly, and they talked briefly about its sequel (of which Cronenberg had no involvement). While it’s easy to agree that this sequel is miles behind, it wouldn’t be fair to dismiss it entirely. There are some incredibly fun creature effects and grotesque deaths on screen to grab your attention, although most of them come in final act of the film. The first couple of acts are still fascinating, as we watch Marin Brundle (Eric Stoltz) rapidly age through the first five years of his life as a result of the human/fly hybrid genetics of his father. Although he’s supremely intelligent, he’s regularly picked on and treated poorly by his foster family of lab techs and a particularly surly security guard, resulting in quite a bit of sympathy for the child-turn-man at five years old, and this investment in his character is deepened as he…

The Incredible Hulk

Just a few short months passing after Marvel Studios unleashed the well-crafted Iron Man on an unsuspecting public in 2008, Universal would – with the involvement of Marvel Studios – drop another entry into a newly reimagined Marvel Cinematic Universe (MCU) in the form of The Incredible Hulk. This was truly a turbelunt time for comic book films, as we faced a deluge of poorly executed adaptations and some experiments that left studios cautious about how to proceed, which is nowhere more apparently than in this Hulk film. Doing away with everything from Ang Lee’s Hulk in 2003, The Incredible Hulk was a reboot of sorts whose sole purpose seemed to be avoiding any kind of artistic depth while navigating the “safe passage” of mediocrity and tip-toeing around anything that Ang Lee had done before. As a film and comic book enthusiast, I was excited for another Hulk film, but incredibly wary of how the next iteration of the character was going to turn out on screen. To be fair, I loved the first Hulk film and my expectations were low for The Incredible Hulk, which would see a complete cast replacement…

Hannibal

Though Hannibal is an abysmal failure of a film, I’m incredibly grateful that it exists if only as proof positive that Ridley Scott is fallible and therefore mortal. Much like Ready Player One, it humanizes one of my favourite directors and demonstrates that we don’t have to be defined by our failures. Which is good in Mr. Scott’s case, because it is, as the kids say these days, a whopper. (Unlike Vincent Vega who probably wouldn’t be inclined to use the same terminology, knowing his disdain for Burger King.) Hannibal is a direct sequel to the iconic The Silence of the Lambs, and while I didn’t expect it to reach the same heights as its predecessor, I also didn’t anticipate the depths to which it would plunge. Like all of the Hannibal Lector movies, this one was based on a book by Thomas Harris. I have yet to read any of the books in the Hannibal Lector series, but immediately after watching Hannibal, I felt compelled to look up an outline of the novel online, breaking one of my unwritten rules about indulging in spoilers for texts…

The New Mutants

It would be impossible to begin talking about The New Mutants without touching on the abhorrent delays and release schedule woes that the film underwent. Originally slated to be released in the spring of 2018, the movie would be pushed back until late summer of 2020, which feels unprecedented for a superhero film in our climate, but alas, here we are. You could blame a few things, including the Disney acquisition of Fox, higher priority films and of course the COVID pandemic, but behind all that would loom the quality of the film: surely, this entry in the Fox mutant pantheon was SO bad that releasing it could do more harm than good. The issue is that I could believe it: the last two films in the X-Men series were pretty awful, and I was ready for a reboot (although I’m not necessarily looking forward to a Disney/Marvel reboot, but that’s another topic). The New Mutants dropped a trailer, and I was heavily intrigued, but I still had no choice but to enter into the film with the lowest of expectations.  Wouldn’t you…

The Silence of the Lambs

There’s a good reason why The Silence of the Lambs is widely regarded as one of the best horror/thrillers of all time, and that’s because it is. It’s one of those rare movies that was able to capture that lighting in a bottle, that rare confluence of puzzle pieces that meshed together perfectly to create a singular vision that left an indelible mark on film history. Everything from the writing to the casting to the editing to the set and costume design is so on point it could be used by a vicious serial killer as a murder weapon. The Silence of the Lambs has become one of the most iconic and most-parodied films of all time to the point where even people who have never seen the movie will understand the reference “Hello, Clarice” or instantly recognize Hannibal Lector’s famous face restraints. Director Jonathan Demme demonstrates a mastery of the source material that doesn’t lean so far into its conceits to be self-indulgent but at the same time doesn’t shy away from the more fantastical and macabre elements of the story. The Silence of…

Close