Movie Review

Film Review: PRODIGALS (Canada 2018) *** Directed by Michelle Ouellet

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Prodigals Poster
When a young man returns to his hometown to assist with a friend’s trial it soon becomes clear that he isn’t the beacon of success that everyone thought he was.

Director:

Michelle Ouellet

Writers:

Nicholas Carella, Sean Minogue | 1 more credit »

Stars:

David Alpay, Sara Canning, Kaniehtiio Horn

 

As Canadian as it gets, a big city dreamer, Wesley (David Alpay from THE VAMPIRE DIARIES) returns home to the small Ontarian town of Sault-Saint Marie from Toronto to testify for an old friend on trial for murder.   The script by Sean Minogue and Nicholas Carell based on the stage 2011 play by Minogue ups the angst by making it clear that Wesley is not a lawyer that everyone in the town thinks he is.  The old friend on trial is quite the asshole.

  In Sault-Saint Marie, Wesley struggles between an urge to reignite his relationship with his ex-girlfriend, Jen (Sara Canning) and his friends’ expectations for him to save the trial.  Despite Wesley’s good intentions, he often comes across as quite the jerk.

Jen initially treats him with disdain, blaming him for leaving him behind.  But, as stories like this goes, they rekindle the times they have had with a good old fashioned roll in the hay.  But Jen (fortunately) has learnt her lesson and would not dream of letting Wesley get the upper hand again.  complications also arise as she is also going steady with another man, commonly known as Nips.

Director Ouellet captures the atmosphere of small town, Ontario complete with run down strip malls, dodgy pubs and moody skies.  It is winter or at least close to it as snow and ice can be observed on the ground.  The town is claustrophobic and there is no where to escape from the old friends Wesley has.  The story is told from Wesley’s point of view.  It is a film about twenty-somethings,

PRODIGALS contains a simple story of a man still trying to grow up and gain respect of his friends.  There is not much where the story can go.  Given the story’s limitations, Oulleet keeps his film always on track, trying to keep the audience’s attention.  It helps too that the lead actor Alpay, good looking and charismatic despite his character’s faults.  Caning and Alpay show off good chemistry as a couple.

The film contains a lot of confrontation scenes which reminds the audience that the film is based on a play.  But Ouellet, at least, puts these confrontation scenes in different settings.

As dramatic adapted plays go, PRODIGALS is a film where drama, acting and atmosphere are most important with crowd pleasing entertainment kept within limit.  PRODIGALS ends up a successful  realistic youth drama with real small town issues that sometimes cannot be solved.  Such is life!

Trailer: https://icff.ca/movie-2018-il-colore-nascosto-delle-cose/

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Italian Contemporary Film Festival: EMMA (ll Colore Nascosto Delle Cose)

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Il colore nascosto delle cose Poster
Teo has a good job, a fiancee, a lovers, no intention to assume any responsibility in his life. The meeting with Emma, a blind woman, will upset his convictions.

Director:

Silvio Soldini

Writers:

Davide Lantieri (screenplay), Davide Lantieri (story) |4 more credits »

Stars:

Valeria Golino, Adriano Giannini, Arianna Scommegna

 

EMMA is basically a romantic comedy with a slight difference.  One of the couple, in this case the female is blind since the age of 16.  Emma (Valeria Golino), the blind osteopath meets general womanizer Teo (Adriano Giannini) on an outing which takes place totally in the dark.  Mersmerized by her sexy voice, Teo uses his charms to make her his new target. 

The film tries to remain cool and respectful despite the fact that this is romance with a kinky twist which translates to prejudice against the blind.  So how does one do an erotic scene between a blind woman and a man?  Eroticism is provided  when Teo goes for a complete physical emanation conducted by her when two is in the nude.  She uses her bare hands (no gloves) to press certain parts of his body.  “It takes pain to heal,” she advices him during the examination.  “You notice how the waiter ignores me, I am blind, not deaf.” 

 Despite a few ideas and difference in this romantic comedy, the well-intentioned totally predictable Harlequin romance fails to entice, entertain or enlighten.  A total grope in the dark with no light at the end!

Trailer: https://icff.ca/movie-2018-il-colore-nascosto-delle-cose/

 

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Interview with Festival Director June Daguiso (World Music & Independent Film Festival)

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Nine years ago, June created World Music & Independent Film Festival (WMIFF) with the mission and objective to create a platform for Indie filmmakers to showcase their work of art, for building a global film community, and supporting emerging filmmakers.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

June Daguiso: Most of the filmmakers who won in our festival in beginning of each month of the year, will easily get other nominations and wins in other film festival. Majority of them also landed distributions.

What would you expect to experience if you attend the festival this year (2018)?

2019 will be a very special year because we will be celebrating a decade in existence as a community of artists. I hope to see most of past winners at the 10th year anniversary-reunion of the World Music & Independent Film Festival to be held for the 4th times on the cruise ship leaving from Tampa, Florida to Costa Maya,Mexico, Belize, Roatan Honduras and Cozumel, Mexico on Saturday, January 26 through Saturday, February 2

What are the qualifications for the selected films?

We have several judges that watch certain categories and they make a recommendation if we can include their films as officially selected films.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

When I started submitting my projects to big festivals, i never get any good feedback and the notification that they sent me is a generic. I don’t think they even watch my film. The bigger the festival, the less chance that your film get selected.

What motivates you and your team to do this festival?

“My mission and objective was to create a platform not only for the DC, Maryland, and Virginia indie filmmakers, but also to provide a platform of achievements for international cinema artists.” Since its early beginnings in 2010, WMIFF has continued promoting filmmakers and musicians to a global audience.

We are dedicated to building a global film community and supporting emerging filmmakers. WMIFF has continued to strive and improve on its mission to promote and provide opportunities for artists of all genres to hone their skills and gain access to opportunities via our events, promotions, and networking opportunities.

How has your FilmFreeway submission process been?

Film Freeway is really awesome. Not only its free for all festival organizers, but they also have the tools and everything you need just like withoutabox.

Where do you see the festival by 2023?

This is our 10th year. It’s been a struggle since we don’t have any major sponsors, but we manage to run the festival every year. We waive submission fees to about 20 % to mostly 3rd World Countries that cannot afford to pay the submission fees. There still a good amount of filmmakers that pay the fees to keep us going.

What film have you seen the most times in your life?

I watch average of 150-200 indie films every year, so I rarely go to a movie theater to see Hollywood films. My favorite film in my collection that I watch all the times is Saving Private Ryan.

In one sentence, what makes a great film?

A great film must have the combinations of a good story, acting, cinematography, and original sound tracks.

 

 

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.

Film Review: OCEAN’S 8 (USA 2018) ***1/2

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TV Program

Debbie Ocean gathers an all-female crew to attempt an impossible heist at New York City’s yearly Met Gala.

Director:

Gary Ross

Writers:

Gary Ross (screenplay by), Olivia Milch (screenplay by) | 3 more credits »

Stars:

Sandra Bullock, Cate Blanchett, Anne Hathaway

 

OCEAN’S 8 (original title OCEAN’S EIGHT) has almost nothing in common with the other OCEAN movies.  There is no casino, no rat pack and no Steven Soderbergh directing, though Soderbergh has producer credit.  Matt Damon of the OCEAN films makes a quiet cameo while the atmosphere of the crime caper is kept intact.  As most are aware of by now, OCEAN’S EIGHT is a female spin-off of the rat pack OCEAN films.  The female rat pack rob the prize jewels during the annual Mets benefit gala dinner.

The film opens with Debbie Ocean (Oscar Winner Sandra Bullock) released from jail when she promises to live the simple life.  Yea, right.  She has no intention whatsoever to alter her life of crime.   Inspired by her brother, Danny Ocean, Debbie attempts to pull off the heist of the century at New York City’s star-studded annual Met Gala.  Her first step is to assemble the perfect crew (which the film introduces one by one): Amita (Mindy Kaling), an Indian jewel expert, Tammy, (Sarah Paulson), a now housewife, previously Debbie’ crime partner, best friend, Lou (Oscar Winner Cate Blanchett), Asian thief, Constance (Awkwafina), Tech savvy genius, Nine Ball, (Rihanna) and Rose (Helena Bonham Carter).   Bell will wardrobe mega-star Daphne Kluger (Anne Hathaway) who will be wearing $150 million worth Cartier necklace that they will steal together with other assorted jewellery at the Met Museum.   More fun is entered into the proceedings with insurance investigator, John Frazier (late night show host James Corden) behaving like an efficient but sarcastic Sherlock Holmes.

The actors appear to be having a really good time particularly Carter,  Hathaway and Corden and their enthusiasm rubs off well on the audience.

In these times of female equality, it is good to see a solid well-made female crime caper.  What is immediately notable is that there are no fights, firepower, pyrotechnics or car chases. It is a tough task to keep audience attention from waning and suspense sustained.  The script co-written by Olivia Milch and Ross (director of SEABISCUIT, PLEASANTVILLE, THE HUNGER GAMES and writer of BRUBAKER, BIG) and direction by Ross achieve the rare feat.  The film runs over two hours and the only time I glanced at my watch was tat the 2-hour mark.

Those who are in the know of the haute couture industry (sorry – you are not, if you do not know who Anna Wintour or André Leon Talley are) will enjoy this film more for the appearances of cameos, the familiarity of fashion events and a few fashion inside jokes.  The filmmakers have assembled a stunning cast of cameos, like Matt Damon, Carl Reiner and Elliot Gould as well as a whole lot playing themselves such as  Anna Wintour, Zayn Malik, Katie Holmes, Maria Sharapova, Serena Williams, Kim Kardashian, Adriana Lima, Kylie Jenner, Alexander Wang, Kendall Jenner, Olivia Munn, Zac Posen, Hailey Baldwin, Derek Blasberg and `Lauren Santo Domingo.

Don’t expect any life lessons or messages as the film does the reverse, promoting theft and embezzlement as well as promoting the satisfaction from exacting a revenge. But the film, provides classy, sophisticated entertainment in place silly fodder like BLOCKERS, LIFE OF THE PARTY and I FEEL PRETTY that have fart and shit (though there are puke) jokes.

Female version of Hollywood blockbusters have done critically like the recent female GHOSTBUSTERS.  OCEAN’S 8 cost a hefty $70 million.  The former film was the most successful comedy at the box-office of that year but only made a tiny profit due to its huge cost.  OCEAN’S 8 might be in the same boat.

Trailer: https://www.youtube.com/watch?v=MFWF9dU5Zc0

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Film Review: HEREDITARY (USA 2018) ***** Top 10

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Hereditary Poster
Trailer

When the matriarch of the Graham family passes away, her daughter’s family begins to unravel cryptic and increasingly terrifying secrets about their ancestry.

Director:

Ari Aster

Writer:

Ari Aster

Stars:

Toni Collette, Milly Shapiro, Gabriel Byrne

It is not the story that counts but how the story is told.

HEREDITARY is a psychological supernatural horror film, the best horror film this year, that has a simple, straight forward premise but unfolds brilliantly in all departments.  As the saying goes: “The devil is in the details,” and this adage is evident in every moment and detail found in the film.  One scene has lead character Annie (Toni Colette) find a note after she spills blue paint on the table.  She is seen carrying the note the next scene with the note noticeable with a spot of blue at the edge of it.

The film opens with a shot of a doll house with miniature furniture and figures inside.  The camera closes in to one of the rooms, quite untidy, with a figure under the covers in the bed.  By a hardly noticeable scene change, the room transforms to a real one, as a father, Steve Graham (Gabriel Bryne) enters it.  The miniature furniture and rooms matter as this is the work of the mother, Annie who has the project of miniature art for a gallery.   There are little objects in the miniature house that provide curious interest to those who notice.

When Ellen, the matriarch of the Graham family, passes away, her daughter’s family begins to unravel cryptic and increasingly terrifying secrets about their ancestry.  “My mother was a very private person.  She wasn’t always there, especially at the end.”  Annie says of her mother at the eulogy.   The more they discover, the more they find themselves trying to outrun the sinister fate they seem to have inherited.

Toni Collette delivers an Oscar winning performance.  She has been cast in a lot of nuanced roles lately (MADAME and BIRTHMARKED) but this one shows her true worth.  Though chances are low that one would win an Oscar for a horror flick, one would never know.  Her pleadings: “Please, please, please,” to her husband are genuinely the most desperate as anything I have ever seen.  The other great performance comes from Alex Wolff, who plays Peter, the son. Wolff was unforgettable in MY FRIEND DAHMER where he played the best friend of the serial killer Jeffrey Dahmer.

Aster’s HEREDITARY is surprisingly compelling from start to finish.  Though running at 127 minutes, there is not a dull moment.  Aster also devotes almost equal time to each member of the family, allowing to audience to feel both the anguish and desperation of each member.

Aster’s humour is so sly that it often passes by without notice.  The best example is the choice of the ending song played during the closing credits: Joni Mitchell’s “Both Sides Now”, right after the film’s horror climax.  Humour is also provided by the character of the over cheerful, Joan (Ann Dowd), a support group member who introduces Annie to the supernatural.

It is also neat the way the film manipulates the audience in wanting to believe that the supernatural exists.  When Joan introduces Annie to her first seance, the audience wants the spirit to appear.  When Annie insists that her dead daughter’s spirit can be conjured up, the audience wants it to happen.  The sense of audience anticipation is brilliantly created, keeping the audience full attention to the proceedings.  Another example is Annie’s eulogy at the funeral service of her mother, describing her mother but again priming the audience of the horrors to come.

HEREDITARY premiered at Sundance in the Midnight Section.  It is the best horror film so far this year, a big surprise, reminiscent of the surprise horror hit, GET OUT last year.  And the film has been getting rave reviews from almost everywhere it has played. 

Trailer: https://www.youtube.com/watch?v=01NfsDcyEFU&feature=youtu.be

 

 

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Italian Contemporary Film Festival: LIKE A CAT ON THE HIGHWAY (Come un Gatto in Tangenziale) (Italy 2017) ***

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Like a Cat on a Highway Poster
Trailer

The story of an encounter between a bourgeois man and a poor woman, because their teenage sons get engaged.

Director:

Riccardo Milani

Writers:

Furio Andreotti, Giulia Calenda | 2 more credits »

Stars:

Paola Cortellesi, Antonio Albanese, Sonia Bergamasco |

 

LIKE A CAT ON THE HIGHWAY refers to the length of time a teen like the protagonist’s son’s romantic relationship will last.  The film begins like an Italian version of BLOCKERS.  

The father, Giovanni (Antonio Albanese) trails his daughter as she meets up with her new tattooed boyfriend.  The trail leads him to a poor rough area where his windshield is smashed by a woman with a baseball bat.  Following him to the apartment, he finds that the girl’s mother, Monica (Paola Cortellesi) is the one who smashed his windscreen.  Things take a turn when they end up all going for a picnic together on skull island, a very poor man’s beach.

   It is the same old story where a privileged rich man meets a poor rough lady and they both end up learning about life and each other.  Still, despite treading on familiar territory, Milani’s film has its charms, thanks to the two wonderful leads.  The jokes come off quite hilariously, the segment with the bored Monica and Gio watching a foreign film in an art-house cinema being the funniest.  Milani fortunately holds off any romance with only a hint of it at the very end.  

 Charming and entertaining fluff!
Trailer: https://www.youtube.com/watch?v=PkGShSJaTo0

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Italian Contemporary Film Festival: COUCH POTATOES (Gli Sdraiati) Italy 2017) ****

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Couch Potatoes Poster

Director:

Francesca Archibugi

Writers:

Francesca Archibugi (screenplay), Francesco Piccolo(screenplay) | 1 more credit »

Stars:

Claudio Bisio, Gaddo Bacchini, Cochi Ponzoni

 

This is my favourite of the festival, partly because I can relate to the theme of a difficult son and his relationship with his father.  This a relevant comedy adapted from the book by Michele Serra, where parents are separated and adults have difficulty relating less controlling their teenage children.  

The father is Giorgio (Claudio Bisio) also called ‘Past his due date’ by the son and ‘loser’ by his son’s friends, a highly respected TV presenter.  When the film opens, Giorgio has custody for the next few days of 17-year old son, Tito (Gaddo Bacchini) who with his friends invade the father’s home spilling yogurt and  smoking up in the room.  Tito has a girlfriend, Alice (Ilaria Brusadelli) who turns out to be the daughter of Giorgio’s old flame, Rosalba (Sandra Ceccearelli) which means that she and Tito could be step-siblings.  But it is the father/son relationship that is the subject of the film, and this is seen from both son and father’s points of view.  

 The funny thing is that the son is a real prick to his father who is at wits end as to how to control this son of his.  When the son is injured from falling off a roof, the relationship improves.  The film does not always provide solutions to the problems presented but who really cares? 

 COACH POTATOES is a totally charming heartwarming comedy, full of emotion and relevance and it is very, very funny. The original music composed by  Battista Lena is amazing.

Trailer: http://cineuropa.org/en/video/rdid/343293/

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Film Review: HOTEL ARTEMIS

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Hotel Artemis Poster
Trailer

Set in riot-torn, near-future Los Angeles, ‘Hotel Artemis’ follows the Nurse, who runs a secret, members-only emergency room for criminals.

Director:

Drew Pearce

Writer:

Drew Pearce

Stars:

Jodie Foster, Sofia Boutella, Dave Bautista

 

There is a segment in both the JOHN WICK action movies where Keanu Reeves who plays an assassin takes refuge in a special European Hotel.  One has to be a member of this hotel to enter, of which certain rules must absolutely be followed.  There must be no killings.  Everyone must respect each other. 

 In HOTEL ARTEMIS, Jodie Foster plays the head nurse, Jean Thomas of the hotel.  The only thing is that HOTEL ARTEMIS is not really a hotel but a  hospital run by Thomas where the secret members-only can convalesce if they are shot, wounded or need medical attention.   But when a cop is admitted all hell breaks lose and FREE FIRE occurs.  HOTEL ARTEMIS plays like a cross between FREE FIRE and the JOHN WICK hotel segments.  But the film does not work and interest wanes quickly.

The film tries hard to distinguish itself as being original.  For one, it is set in the end future of a war-torn Los Angeles.  The film begins with a rather violent bank heist, as seen from the robbers points of view.  Some are killed and some are wounded.  Two African Americans survive but one is wounded and has to be brought to the HOTEL ARTEMIS for hospital care, no questions asked.  It is there where the audience is introduced to the no-nonsense head nurse who will not let anyone through the high security gates.  She has a really nasty looking security guy, Everest (Dave Baustista), built like the mountain itself.

HOTEL ARTEMIS does to really work because the script and story have nowhere to go.  No one really cares about any of the riff-raffs that enter hospital, who survives or who dies.  The humour is off, neither black, neither camp, neither satirical and neither funny.  Action segments are well executed, lifting the film a little, though this can hardly be classified as a true action film.

This is Jodie Foster’s first film after a long absence.  She does well, though looking her age.  The cast includes other minor actors including Jeff Goldblum, Zachary Pinto and Sofia Boiutella.

HOTEL ARTEMIS lastly suffers from a slip shod ending, which is expected given that the film’s whole story never leads anywhere.  Do not book your stay at HOTEL ARTEMIS.

Trailer: https://www.youtube.com/watch?v=JqfuKsoEEms

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Film Review: ADRIFT (USA 2017)

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Adrift Poster
Trailer

Based on the true story of survival, a young couple’s chance encounter leads them first to love, and then on the adventure of a lifetime as they face one of the most catastrophic hurricanes in recorded history.

Director:

Baltasar Kormákur

Writers:

Aaron Kandell, Jordan Kandell | 1 more credit »

Stars:

Shailene Woodley, Sam Claflin, Grace Palmer

 

ADRIFT is a sea survival romance drama based on the true story of a couple caught in a devastating storm while sailing.  With minimum food and water and relying on each other’s love to survive, ADRIFT is the story, told from Tami (Shailene Woodley), the girl’s point of view.  Woodley shot to fame playing the daughter in Alexander Payne’s THE DESCENDANTS with George Clooney.  Besides having the female lead role, Woodley also has credit as a producer.

An American and Englishman with his boat sailing around the world meet in Tahiti.  Love at first sight, it appears to be after a date night.  The two take on a task of delivering a yacht to San Diego.  

The next scene is the disaster scene where Tami is below a flooded boat screaming and looking for Richard.  It is evident that they have survived a storm that had devastated their boat and Richard must be somewhere overboard.  She finds him and pulls him on board.  But he has a big gaping leg wound and broken ribs.  They spend 40 odd days ADRIFT.  She learns a bit about sailing and the film stresses that it is her love for Richard that saves the two.

At the start of the movie, it is stressed that the film is based on a true story.  This does not mean that what transpires on screen following is all true.  What really happened is revealed at the end during the closing credits.  As this is the major surprise of the film (though it can not be officially considered a plot twist), the fact will not be revealed in the review.  But stay for the closing credits if you watch the film.

ADRIFT is a romance set in a disaster setting  not a disaster movie in a romantic setting.  This results in an awfully saccharine sweet setting, all too good to be believable less true.  For a couple surviving for more than month with hardly any food and water, they only argue once.  Thy are still lovey-dubbey all the way, she clinging on to him half the time despite his broken ribs.  Cans of food and even alcohol pop up from hidden areas below the deck at regular intervals for the couple to survive.  There is even enough beer for the couple, in Tami’s own words “to party.”  Fortunately, the audience is spared from watching any drunken frolicking.  There are no scenes involving both of them having to urinate or taking a number 2.  At least the audience is spared from Woodley having perfect hair and make-up during the storm, as in the awful recent film KAYAK TO KLEMTU, where the lead always shows up with perfect make-up despite its wilderness setting.

The storm scenes with Tami and Richard scrambling around the boat look authentic enough.  CGI effects are so advanced these days it is hard to tell when CGI effects are used or the real thing with real water and a blowing fan.

The couple’s chemistry helps the film’s story.  Both are young, attractive and share the same goal – wanting independence.

One might hate ADRIFT for the Hollywood style romantic storytelling, but for those romantics who love this kind of thing ADRIFT will not disappoint.

Trailer: https://www.youtube.com/watch?v=HdMP4sWc71M

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Film Review: BLACK COP (Canada 2018) ***

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Black Cop Poster
Trailer

A black police officer is pushed to the edge, taking out his frustrations on the privileged community he’s sworn to protect.

Director:

Cory Bowles

Writer:

Cory Bowles

Stars:

Ronnie Rowe, Sophia Walker, Sebastien Labelle

 

BLACK COP is a satire/drama about a black cop (no name given to him or to any of other characters in the film).

In the film, some people think BLACK COP has lost touch with his blackness, but BLACK COP thinks not.  Most of the time, people tell him how to do his job.  “Assholes think they know too much.” is what the cop’s response is.  The humour is quite black (pardon the pun!) but it works marvellously.  And bitingly funny. 

It is thus not easy being a black cop as the film clearly demonstrates.  The community (including the black portion) does not trust him, his colleagues are wary of him and he is being patronized by the people he is supposed to protect.   And when the world is on edge waiting for a grand jury verdict on a high-profile police case involving unarmed youth, all eyes are on him  

Though the film is set in the U.S., the theme reflects the famous Toronto case in which an officer shot an armed youth on a streetcar.

For this officer already struggling between duty and moral obligation, things take a drastic turn when he is profiled by his colleagues off-duty (10 minutes into the movie), pushing him over the edge.  Armed with the power of his badge, an antagonizing radio show for company, and some good old-fashioned rage, the stage is set for a whirlwind day filled with vendetta and just desserts, as Black Cop targets the community he is sworn to protect. 

The film’s premise is simple.  After the cop experiences abuse, he loses it an takes revenge by abusing the community under his beat.  The abuse takes the form of him arresting, threatening and beating up an assortment of people.  The abuse scenes unfold like watching a Youtube video shot by a camcorder placed at the cop’s eye-level.   The film has an edgy feel from the way other segments are shot, with a combination of jump cuts, slow and fast motion.  But the film does not go anywhere except as to what transpires from that simple premise, which is a bit of a disappointment.

There are lots of anger in BLACK COP.  And this is what makes it compelling to watch!

Actor Ronnie Rowe Jr. (looking a bit like Ice Cube) portrays him almost perfectly, combining drama and humour as he tackles the issues of race, class and power.  The film is directed by Cory Bowles (who did episodes of the Trailer Park Boys).  Bowles comes from a black father and a white mother.

The film unveils in chapters with odd titles.  The first chapter is titled “Brother..Brother…Brother.”  The second is called “Just a Friendly game of Baseball.”  and the third “Zombie no go stop.”  – not that all this makes sense, but it adds to the edginess. BLACK COP opens across Canada in major cities on June 1 as a Cineplex Special Event then June 5 an exclusive iTunes run, with a wide VOD release on June 19.

Trailer: https://www.youtube.com/watch?v=4RiOirLKtQM

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