movie review

Film Review: Goon: Last of the Enforcers

festreviews 2017 movies, movie, Movie Review, Uncategorized , , , , , , ,

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

goon2.jpgDirector: Jay Baruchel
Writers: Jay Baruchel (screenplay), Jesse Chabot (screenplay)
Stars: Elisha Cuthbert, T.J. Miller, Liev Schreiber

Review by Gilbert Seah

Hockey is a Canadian sport with lots of fights and violence. Hockey films have been made when this essential characteristic was removed and looked down upon. This has resulted in the worst films (SCORE: A HOCKEY MUSICAL; HELLO DESTROYER) ever made on the sport. Fortunately GOON captures the violence and rowdiness of the sport and the two GOON movies can arguably be considered the best Hockey films.

When the first GOON was released, the film poster (with the tongue between the two fingers) created an uproar and all the posters had to be taken down in Toronto. Director Burachel who co-wrote and directed the second GOON, taking over the directing reins from Michael Dowse (IT’S ALL GONE PETE TONG, FUBAR) knows hockey and loves to create ‘shit’ like his supporting character, Pat in the movie. In real life, Baruchel is an avid Hockey fan who has worked in raunchy comedies before with the likes of Seth Rogen and Evan Goldberg. So, GOON: LAST OF THE ENFORCERS uneven though it may be (as this is Burachel’s directorial debut), is still a good effort.

The story follows the first GOON film, with most of the characters still present. The film begins with a fight that puts the lead character, Doug (Seann William Scott) in hospital and unable to play again. Doug gets a job in insurance even though he (and his boss) know nothing about insurance. The insurance segments are very funny. Doug’s girl, Eva (Alison Pill) is expecting a baby. He promises to stop fighting, a promise he cannot keep. Anders Cain (Wyatt Russell, also seen in the recent TABLE 19), who put Doug in hospital is brought in as the new team captain. During the pro lockout, Doug’s team, the Halifax Highlanders, unites with a bunch of new players. Finally Doug is brought back in. Confrontation and a major fight between the two result.

For a comedy, this film is more violent than any boxing film (taking ROCKY and RAGING BULL as examples). Director Burachel knows how to shoot the fights and they are not easy to watch. Burachel also knows how to film hockey games, and the matches are well executed with all the excitement of a top sports film.

Jay Burachel has a few scenes as Pat, Doug’s best friend. Whenever Pat appears, there is trouble. But there are also laughs. The lead Seann William Scott appears here with full facial hair. Scott is a good enough actor, being in teen comedies like the AMERICAN PIE films and DUDE, WHRE’S MY CAR? This is the actor who plays a character that takes a dump in his enemy’s cooler at a camp fire (one of the AMERICAN PIE sequels), so a lot of toilet humour ca be expected from him. Canadian actor Callum Keith Rennie plays the team owner.

GOON: LAST OF THE ENFORCERS is a male comedy about hockey. So, don’t expect any messages or life lessons. The film is a lot of fun and laughs. It is like the game, very Canadian. I enjoyed it a lot.

Trailer: https://www.youtube.com/watch?v=b4N__jY27zY

 

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Film Review: BEAUTY AND THE BEAST (BELLE ET LA BETE) (USA 2017) ****

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

beautyandthebeast.jpgDirector: Bill Condon
Writers: Stephen Chbosky (screenplay), Evan Spiliotopoulos (screenplay)
Stars: Emma Watson, Dan Stevens, Luke Evans, Kevin Kline

Review by Gilbert Seah

Right after two blockbuster films LOGAN and KONG: SKULL ISLAND with lots of killings and dead bodies, comes the musical family fantasy animation/live action to sober audiences back to sugar sweetness.

Having no desire to see a musical live-action Disney re-make of BEAUTY AND THE BEAST, the film proves to be a surprise where magic, music and romance can still charm the hell out of a hardened audience.

It is still the same story, based on the French fairy tale novel BELLE ET LA BETE by Barbot de Villeneuve, most would be familiar with A handsome selfish price is cursed by an enchantress to be a beast forever unless he is saved by falling in love (both ways) before the last petal of her rose falls.

Belle (Emma Watson) is the young woman who is taken prisoner by the Beast in his castle in exchange for the freedom of her father Maurice (Kevin Kline). Despite her fears, she befriends the castle’s enchanted staff and she learns to look beyond the Beast’s exterior to recognize the true heart and soul of the human Prince within. Meanwhile, a hunter named Gaston (Luke Evans) is on the loose to take Belle for himself and later intends to hunt down the Beast at any cost. He riles up the villagers (FRANKENSTEIN style) to invade the castle, burn it to the ground and slaughter the beast. Belle eventually falls in love with Beast and they waltz together in the grand ballroom to the famous Beauty and he Beast song. Romantics in the audience should have lots of Kleenex handy – especially when Beast utters the tear-jerking line to Belle: “You came back!”

Great pains have been taken to make the film look like a fairy tale. The French village of Villeneuve in the film looks something right out of a fairy tale story book. Belle even sings in the morning, just as Snow White sang to the birds in SNOW WHITE AND THE SEVEN DWARFS. There is the icy cold winter surrounding the beast’s castle (like the snow and ice in FROZEN) and the talking tea-pot, cup, candlesticks and clock as in the original animated BEAUTY AND THE BEAST.

Watson is perfect as Belle, the beauty but the film’s impressive cast includes stars Emma Thompson (she gets to sing a line of the famous song), Kevin Kline, Luke Evans, Stanley Tucci, Ian McKellen and Ewan McGregor.

Gay audiences should be pleased with the gay content in the openly gay director, Bill Condon’s (GODS AND MONSTERS, two TWILIGHT films) film. Josh Gad plays Gaston’s gay sidekick, LeFou (obvious to all except to Gaston) who sings and prances about to no end. During the fight at the Beast’s castle, one of the invaders is given a ‘pretty bad boy make-over’ and he is last seen dancing with LeFou in the grand closing dance scene.

BEAUTY AND THE BEAST is more a musical than LA LA LAND with most of the songs being memorable and catchy. See it! You will not be disappointed!

Interesting fact: the animated version cost $25 million while this live-action cost $160 million to make.

Trailer: https://www.youtube.com/watch?v=OvW_L8sTu5E

 

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Film Review: CHOKESLAM (Canada 2017)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

chokeslamDirector: Robert Cuffley
Writers: Robert Cuffley, Jason Long
Stars: Chris Marquette, Amanda Crew, Michael Eklund

Review by Gilbert Seah

With the film’s tagline “Love is hard to pin down”, it is not hard to guess that CHOKESLAM is a romantic comedy about wrestling.

CHOKESLAM is a story about bruising ones knuckles on the barriers of love and the perils of dating a wrestler with a bad temper. The wrestler in question is Sheena DeWilde (Amanda Crew, SILICON VALLEY). But the film’s protagonist is a nerdy 28-year old Corey Swanson (Chris Marquette JOAN OF ARCADIA), a mild-mannered deli clerk who slices cold cuts for a living, whose first love is Sheena. Sheena has just flown into town for their high school reunion. Corey learns of the reunion from an unfunny, clumsily staged hold-up by a classmate he recognizes. He attends, convinced that seeing Sheena one more time will finally give him closure on that better-forgotten chapter of his life.

The script does nothing to make Corey, the romantic underdog likeable. The only time the audience gets a surprise is when he sneaks an unexpected kiss to Sheena. Otherwise, he could be a dirty old guy stalking a pretty innocent lady. Corey is annoying to no end.
What makes a good comedy is timing, a good script with potential hilarious set-ups. The script is only mildly funny and all the comedy seems to fall flat mainly to poor timing Cuffley attempts dead-pan but often switches to sit-com style comedy as a last resort. One example can be seen in the hospital segment where Corey looks blankly at the ceiling with his neck brace just before mother comes in and says silly unfunny remarks like how her son never gets sick.

If one expects to see some professional wrestling, be prepared to be disappointed. There is one scene where two wrestlers go at it while Corey and Sheena look on from the side. But the action is intercut with the conversation (and an uninteresting one at that) so no one really bothers with either. Other wrestling scenes are mainly ho-hum. Three-time WWF champion Mick Foley has a supporting role in the film, playing Patrick – so WWF fans might be thrilled.

CHOKESLAM is an indie Canadian film and I would normally give a Canadian film a chance, especially it being an indie as well. But it is hard to root for a Canadian film that pretends to be American (as seen in the American money dished out from the cash register in the robbery scene). And also harder to root if the film is this bad and uninteresting. So, does Corey get the girl in the end? Well, that is what the film is all about!

CHOKESLAM is part of the Canadian Indie Film Series. The film has managed to snag preview screenings across Canada March 15th while opening widely across Canada on April the 7th. As the director is Canadian from Calgary, the film was chosen as the Closing Film of the Calgary International Film Festival.

The only ones ending chokeslammed are the audience. A good comedy should not be that difficult to pin down!

Trailer: https://www.youtube.com/watch?v=23ScWYpjDe4

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Film Review: WILSON (USA 2016) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

wilson.jpgDirector: Craig Johnson
Writers: Daniel Clowes (graphic novel), Daniel Clowes (screenplay)
Stars: Woody Harrelson, Sandy Oian, Shaun Brown

Review by Gilbert Seah

Woody Harrelson had a supporting role of a neurotic teacher who did not care a f*** in the indie film EDGE OF SEVENTEEN last year. It is as if he expanded that character fully and incorporated the character as WILSON, a film in which the lead character is a lonely, neurotic and funny man who has almost given up on life. When the film opens, he quips that at present all his dreams when he was a kid (like wanting to grow up an astronaut, doctor) are all mired down in disappointment. Wilson (Harrelson) is separated from his estranged wife, Pippi (Laura Dern) but still loves her.

Wilson is likely the saddest protagonist seen in a film this year. Wilson does have a super cute terrier, that he walks daily. Every one would stop to pat this cute thing. Wilson would do a fake dog voice when this happens, creeping the patter out Wilson is also the type who should sit next to a stranger when there are lots of empty seats around i a bus or coffee shop just to strike up a conversation The film uses these segments both for comedy as well as to introduce the character of Wilson to the audience.

As WILSON is a film about losers based on a graphic mover by Daniel Clowes, who also wrote the screenplay, its humour is a bit weird and obviously not for everybody – though I cannot complain as it is very funny.

Alexander Payne (ELECTION, SIDEWAYS, THE DESCENDANTS) was originally hired to direct (he serves as one of the `film’s producers) but Craig Johnson (THE SKELETON TWINS) took over, doing a fine job. The best thing about the film is its unpredictability, just like life itself. Wilson never expected himself to be thrown in jail. While confronting his daughter to give her s*** for testifying against him, he is given good news about being a grandfather. The jail term served by Wilson also surprisingly does him good, forcing him to be social in the prison society. It is believable that such a turn in character can occur.

WILSON is the role that Harrelson was born to play – annoying, eccentric, smart-talking while occasionally being smart. But he would not likely receive an Oscar nomination for such a small film. Laura Dern, an often under-rated actress does a marvellous job as the ex-wife, who keeps her dignity amidst losing her daughter and family. Acting honours also goes to the cute terrier.

In a nut shell, WILSON is a film about a sad middle-aged man called Wilson who through sheer termination finally comes of age in the goring up process. A small little small budget film, WILSON is charming and an entertaining enough film.

Trailer: https://www.youtube.com/watch?v=48cCcaxIi_E&vl=en

 

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Film Review: T2 TRAINSPOTTING (UK 2017) ****

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

T2.jpgDirector: Danny Boyle
Writers: John Hodge, Irvine Welsh (novels)
Stars: Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Robert Carlyle, Kelly McDonald

Review by Gilbert Seah

T2 TRAINSPOTTING, the 20-years after sequel to TRAINSPOTTING, is so-called after the filmmakers got the rights to use T2 (hasta la vista baby to T2 standing for TERMINATOR 2) arrives with all the characters as well as the actors and director/writer after ageing a full 20 years. Hopefully, the elapsed 20 years have made each person smarter. Judging from the movie, they certainly have.

The original can be remembered (even after 20 years) for its catchy beginning sequence when Renton runs at full speed on the street only to stop with the camera right in front of him. A reverse of that effect is achieved brilliantly at the start of T2. Renton (Ewan McGregor) is now running on a treadmill at full speed, trips and falls flat on the gym floor. The camera is neither stationary nor the character but ends with both in motion before the final shot.

Boyle is directing in top form with all the energy and innovation as his first films. I have been a Boyle fan for his early films like SHALLOW GRAVE, TRAINSPOTTING and 28 DAYS LATER and not too keen on his later ones like his over talky STEVE JOBS (there is an extended talky sequence in T2 when Renton rants about ‘choosing life’), SLUMDOG MILLIONAIRE and not especially with his 2012 summer Olympics opening ceremonies.

Though it is not necessary to have seen or be familiar with the original, it is recommended to view the fist film in order to appreciate T2. All the four characters have gone on in life, though their personalities have remained intact. Renton leaves Amsterdam to return to Edinburgh. He meets up with Sick Boy (Jonny Lee Miller) who still blames him for ripping him of with money from the first film. Begbie (Robert Carlyle) has broken out of prison while Spud (Ewen Bremmer) is still hooked on candy. The villain of the piece is Begbie, who is as violent as ever, seeking to kill Renton for stealing his money.
All the actors are nothing short of perfect in their roles including Kelly Macdonald as Sick’s Boy’s girlfriend, Diane.

The film is much an action film as a character driven piece. The action sequences are well executed (the car chase/escape where Renton jumps on the roof of a car; the fight in the dilapidated building; the club scene) as well as the dramatic confrontations. Audiences should expect and be warned of the excessive violence, swearing and drug use in the film.

Boyle also dazzles the audience with his fancy camerawork at the start and also in the unforgettable sequence when the camera pulls back from Renton’s room into a abysmal corridor.

But T2 delivers – as each actor, director and writer demonstrates. The film is impressive in all departments but most of all, it brings closure to what Boyle celebrated – the use of heroin. This mature film displays the characters now mature and grown up with the drugs perspective put well in place, artistically and less graphically.

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

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Film Review: KONG: SKULL ISLAND (USA 2017) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

kong_skull_island.jpgDirector: Jordan Vogt-Roberts
Writers: Dan Gilroy (screenplay), Max Borenstein (screenplay)
Stars: Tom Hiddleston, Samuel L. Jackson, Brie Larson

Review by Gilbert Seah

 There have been already too many films on King Kong. The first and most memorable one for me was the 1962 campy Japanese version entitled KONG KONG VS. GODZILLA where audiences were treated to the climatic fight between the two monsters executed by actors in monster suits. The KING KONG films have been improved in terms of special effects. Even Peter Jackson had a go at it in the horrid 2005 version with an overlong attack by Kong on NYC. This latest edition is a reboot with two writers Dan Gilroy and Max Borenstein and a new director Vogt-Roberts whose only other film is an indie called THE KINGS OF SUMMER. But this new version takes a bit from each of the previous King Kong films, in fact the best from them, resulting in a satisfactory adventure film filled with special effects, action and much more humour.

The film begins very oddly in the year 1944 when a Japanese and American pilot are both shot down on Skull Island in the South Pacific (hints of HELL IN THE PACIFIC), They fight each other, only to be interrupted by the appearance of the giant Kong. Flash forward to 1973

when former British Special Air Service Captain James Conrad (Tom Hiddleston) is hired by government agent Bill Randa (John Goodman) to guide an expedition to map out an uncharted island in the Pacific Ocean known as “Skull Island”. Randa also recruits the Sky Devils helicopter squadron led by Lieutenant Colonel Preston Packard (Samuel L. Jackson) to escort them to the island, and the group is later joined by pacifist photojournalist Mason Weaver (Brie Larson), who believes the scientific expedition to be a cover for an illegal military operation and plans to expose it. There, they find Kong as well as the American pilot, Marlow (John C. Reilly) now older, having lived there for 28 years.

The island is also the home of other giant creatures, the most fearsome being the Skullcrawlers, the biggest one of which battles Kong at the film’s climax, similar to the fight between King Kong and Godzilla. The other action segments involve the characters battling other monsters including a spider, ants and flying pterodactyl-like birds. The characters are trying to get to the north of the island in order to be rescued.

The Conrad and Mason characters form the boring romantic couple of the story. Fortunately, Vogt-Roberts treats their romance as slight. The more interesting characters are Packard portrayed by Samuel L. Jackson, obsessed by his aim to kill Kong. There has hardly been a single film in which Jackson has not uttered the words mother f***er. So wait for this special scene. Reilly also steals the show as the comical Marlow who saves Kong.

The new take on the King Kong story actually works. At least the audience is spared from Kong being brought back to American to climb the Empire State building. But Kong still has the ‘hots’ for Brie Larson.

But most important is to stay till after the end credits. In the comical post-credits scene that primes the audience for a sequel, Conrad and Weaver are detained by Monarch and informed that Kong is not the only monster to roam the world. They are then shown archive footage of cave paintings depicting Godzilla, Mothra, Rodan, and King Ghidorah.

Trailer: https://www.youtube.com/watch?v=AP0-9FBs2Rs

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Film Review: WINDOW HORSES (Canada 2016) ***1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

window_horses.jpgDirector: Ann Marie Fleming
Writers: Ann Marie Fleming (screenplay), Maryam Najafi (Cultural Script Consultant)
Stars: Shohreh Aghdashloo, Ellen Page, Sandra Oh

Review by Gilbert Seah

WINDOW HORSES is an animated film about poetry. And one about a protagonist travelling to a poetry conference in the city of Shiraz in Iran. The subject would be enough to scare away audiences. But one of the best films last year was about a bus driver poet entitled PATERSON with Adam Driver, a tremendously moving film. So WINDOW HORSES, another film about poets, is a film that should be given a chance – for it is in its own terms, an equally awesome film – original, cute and with eye-catching animation.

I met writer/director Ann Marie Fleming last year at the Toronto International Film Festival. Humble, quiet and shy, I had heard that she had a film playing called WINDOW HORSES. I was dead curious what her animated movie would be like, after a fellow critic praised her film. Fleming is of mixed race, like her film’s protagonist.

The film begins with a horse observed through a window. The person at the window is young 20-something poet wannabe Rosie Ming (voice of Emmy Winner Sandra Oh) of mixed Chinese/Persian parents) who lives with her loving grandparents (drawn to look especially Chinese) in Vancouver, Canada. Rose publishes her own poems in book called “My Eye Full” by a poet who has never been to Paris.

One thing that stands out about WINDOW HORSES is its charm. The charm is ever present from the film’s characters to the stories right down to the details in the animation. The film is inherently funny with keen observations to family relationships, growing-up, the artistic scene and a whole lot of other issues.

Sandra Oh, who serves as the film’s executive producer lends her talent as the voice (immediately recognizable) of Rosie. Oh has been friends with Fleming for over 20 years and she agreed to do the voice despite her very busy schedule. Besides Oh, the film is filled with other talents such as other Canadian actors Don McKellar (as the German poet) and Ellen Page as Rosie’s funny chatty friend. But the best is old veteran actress, Nancy Kwan (of the Roger and Hammerstein’s FLOWER DRUM SONG and LOVE IS A MANY SPLENDORED THING) as the voice of Rosie’s grandmother.

Fleming’s animation is not super stupendous, but it is colourful (her favourite colour appears to be pink), original, eye-catching and different. While her characters are etched with proper limbs, she give Rosie stick arms and legs. She even pokes fun at her own animation with a watch she wears dangling from her (stick) wrist.

Fleming’s film is also deep in its subject matter. Fleming knows her material and it is clear form her film that she has done sufficient research on Iran and on her poetry. One wonders if the story of her protagonist is biographical.

WINDOW HORSES is a celebration of different cultures, of art, tolerance and the wonders of life. Fleming is clearly an important emerging talent in cinema.

Trailer: https://vimeo.com/155891239

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Film Review: SHADOW GIRL (Canada/Chile 2016)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

shadow_girl.jpgDirector: Maria Teresa Larrain
Stars: Maria Teresa Larrain, Cristian Larraín Navarro, Celia Navarro de Larraín

Review by Gilbert Seah

 In the words of writer/director Maria Teresa Larrain: “It is one thing to live in a fog, and another to live in darkness.” Maria Teresa Larraín had inherited her mother’s ailment of progressive myopia. She was told this when she was little when she visited the doctor with her mother. Maria did not know the meaning of progressive nor of the word myopia. Maria asks her mother: “When will we be blind?” Her answer: “We will never be blind!” As she slowly loses her sight, she sees things in shadows but fears when the fog turns into darkness.

These be very strong words. The first 10 minutes of SHADOW GIRL gears the audience to expect a very powerful film – with an important lesson that can only be taught be a person going blind. Unfortunately, what follows cannot match the set-up. Still, SHADOW GIRL is an honest testimony of a person struggling with blindness. Maria was born in Chile with her family dotted around the globe in Chile and Costa Rica and Canada. Ironically, Maria is in the business of creating images so as she says, SHADOW GIRL will be her last film and one that she might not be able to see.

The film is Maria’s personal chronicle of discovery inspired by the loss of her sight, and a memorable depiction of a world beyond our eyes. Larrain is unafraid to display her lonely depression, as she began to lose her sight while editing her last film in Toronto . She decides to rejoin society with the death of her mother in her native Chile. The prodigal daughter returns to Santiago after 30 years away and discovers a society of blind street vendors of La Alameda.

The encounter with this spirited, kindred community forms a major part of the film as it teaches her to overcome her difficult journey.

Maria was denied Canadian disability payments because she had worked while going blind. She filed an appeal. The decision of the Canadian government on her disability benefits form the climax of the film.

The most moving segment of SHADOW GIRL is obviously not whether she had been granted these payments – even though the voiceover stresses its importance. (I only have $5 in my bank account.) It is the film’s formulation of the images – blurry to simulate what Maria sees in her vision. As she traces the regaining of the recognition of colours after her cataract operation, the audience sees how important even a very slight sight is to her and to every person.

SHADOW GIRL has won numerous awards, because of its candid look on the subject of blindness. Among these are:

– Best Documentary of 2016 by the Circle of Chilean Critics
– Best National Film, Audience Award, Documentary of the Month Award and Hackathon Award at DocsBarcelona Valparaiso,
Best National Film, Best Directing and Best Sound Award at DIVA (Diversity International Film Festival

Director Larrain will be present for a question and answer session during a special presentation of the film on March the 12th at the Revue Cinema and hopefully after for a limited release. The film will also be aired a a later date on the CBC documentary Channel, and also on the Accessible Channel at the end of the year.

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

_________

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Film Review: PUMPKIN, 15min., USA, Romance/Drama

festreviews 2017 movies, Kierston Drier, Uncategorized , , , , ,

Played at the February 2017 ROMANCE Film Festival

PUMPKIN, 15min., USA, Romance/Drama
Directed by Paula Neves

Alice’s best friend, Dan, lives in another country. When he gives her the bad news about his disease, Alice faces the scary feeling of being away, distant and powerless. And she tries, the best way she can think of, to show him support and love. Even if that means pushing away those people that are physically close to her.

Review by Kierston Drier

 his fifteen minute film from the US directed by Paula Neves is a piece to break your heart while it heals your soul. Pumpkin is a story about teenage photographer Alice and her long distance relationship with Dan, a charming and sweet boy from across the sea. Despite romantic interested right in front of her face, Alice only has eyes for Dan and he reciprocates her passion. Yet something is holding him back- that something is a terminal illness. Love knows no bounds it would seem, an Alice is unable to see the subtle hints that her love for Daniel may be ill-fated.

Some things are worth risking everything for, and Alice decides that, in order to see Daniel, she will give up the prom in her own high school, and the money in her new camera fund, to fly to see Daniel. The morning of the flight however, she gets a devastating call from Daniel’s’ mother.

Love makes us do crazy things. This is one of those stories that shows the drive of compassion from all angles. Daniel doesn’t leave Alice completely high and dry, his last ditch effort to contact her will reach her in the end. Alices’ best friend back home, won’t let her mourn Dan forever. From every angle love prevails, even when all seems lost.

Pumpkin has some notes in common with The Fault In Our Stars and with good reason- they are both stories that remind us how crazy love can make us, and the things we are willing to do to see it through. Pumpkin reminds us that a life cut short is still worth filling with love. The lives left behind are equally worthy of being loved.

 

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Film Review: SUNDAY AFTER, 3min. Canada, Romance/Experimental

festreviews 2017 movies, Kierston Drier, movie, Movie Review, Uncategorized , , , , ,

Played at the February 2017 ROMANCE Film Festival

MOVIE POSTERSUNDAY AFTER, 3min. Canada, Romance/Experimental
Directed by Nathalie Cusson

What to do on a Sunday afternoon? There are many ways to spend spare time; The one depicted in this short film might be among the best options.

Review by Kierston Drier

 A silky smooth symbolic look at sensual visual stimulation, Sunday Afternoon is a delight for the senses. A Canadian experimental film directed by Nathalie Cusson, this piece is a three minute dive into erotic visual metaphor.

Set against hypnotic music, soft, velvety images and alluringly entrancing close ups of feathers, silk sheets and pearly droplets of water, Sunday Afternoon will have you tingling all over and unsure as to why.

As a three minute experimental film, this piece leaves itself open to interpretation, and yet it remains unmistakably clear. We may not be sure what we are looking at as the audience but we certainly know it’s sexy. It is the testament to good filmmaking, that a metaphor can be so clear and appealing, and remain utterly innocent of overt references.

Tantalizing while remaining obscure, Sunday Afternoon is a delight for the senses, and may very well give you some ideas for how you might want to spend your next long weekend.

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