SHOOK
Amar Wala‘s narrative feature debut, SHOOK, has arrived to wow TIFF 2024 audiences. Things are looking pretty bleak for Ashish. His parents are newly divorced. He is struggling to sell his first novel. His estranged father’s secret is simply the cherry on top. Then he meets Claire, and he must face all his demons.
Bernard White gives Vijay the fantastic edge of a sarcastic manchild with a soft underbelly. He is wonderful. Amy Forsyth is Claire. She brings both endless humor and a soft place for Ash to land.
Saamer Usmani delivers an impressive turn. He is incredibly charming, wading through self-doubt, cynicism, and healing. Forsyth and Usmani have electric chemistry. Theirs is a classic “when you’re least expecting it” love story.
The cinematography is sharp. Peter Hadfield‘s framing is beautiful. The soundtrack is outstanding. No doubt you’ll be bopping your head throughout the film.
SHOOK is a family drama perfectly laced with laugh-out-loud dialogue. Wala and co-writer Adnan Khan draw inspiration from the director’s personal experiences with his father’s diagnosis with Parkinsons in his 20s. It is a complex story of reconciliation, generational communication differences, racism, and identity.
A relatable age and stage spiral and tale of getting your proverbial shit together, SHOOK is a gut punch that will undoubtedly stick with you long after the credits roll.
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Ethics and emotion and two versions of one memory; a complex father/daughter relationship is told through time jumps. The new film by Academy Award-Nominated director & writer Atom Egoyan, The Guest of Honour is about questionable decisions and power dynamics. It is complicated in the most engrossing way. David Thewlis and Laysla De Oliveira make a compelling pair. Their chemistry has the perfect balance of volatility and authenticity. Each is afforded the opportunity to play contrasting traits of their characters. Luke Wilson plays a priest, but also a mediator and confession soundboard. He is a key player in the larger scope of the narrative.
Memories can be as delicate as the feelings that come with them. This script is driven by guilt and supposition. While, oftentimes, time jumps can muddle a story, but here the editing becomes another character driving the beats and mystery forward. The Guest of Honour is a nuanced and intriguing film about the intricacies of family, reclaiming power, and learning to let go.
Starring: Troian Bellisario (“Pretty Little Liars”) and Patrick J. Adams (“Suits”)
The intellectual dialogue is so overwhelming intriguing from the very first scene, you cannot help but feel compelled to give your entire attention to Clara‘s unique premise. Can logic and love coexist? This is a film about loneliness and loss but also wonder and imagination, science, and faith. It’s a profound look at the universe as it pertains to intimate relationships. Seemingly an oxymoron, how could the vast beyond of space apply to two people? Clara delves into the idea of letting go to let the universe do its proverbial thing. Real-life husband and wife play astronomer and newly hired assistant attempting to find a new planet with life. Their backstories are incredibly nuanced. Patrick J. Adams is captivating in his sadness and determination. Seeing him outside of Suits in a completely different role further cements his strong presence and pull on-screen. The arch of Issac is something to behold. Troian Bellisario as Clara is simply magic. The full complexity of her character won’t be fully realized until the film’s final scenes. She owns this role.
WHAT IS DEMOCRACY? could not be coming at a more tumultuous time in history. How did we get here? Director Astra Taylor poses the question to people from every corner of the globe in this poignant documentary. The film explores the past, present, and theorizes what will become of our future if we do not pause to learn from our previous mistakes. The world is in what feels like total upheaval but it is not the first time we as a civilization have been on the precipice of either disaster or triumph. We march, we vote, we are inundated with fake news, and yet the people continue to strive for peace and equality against all odds. But democracy goes both ways. That’s the very essence of the word itself. Can good prevail without its counterpart? What we gather, on the whole, is that the naive promise of democracy is beginning to feel like an unfulfilled promise. That no matter the world’s location, race, socio-economics, and money rule. Let us not become numb to the negative but continue to seek compromise and understanding. Truly, WHAT IS DEMOCRACY? should be required viewing in every high school civics class. Hell, it should be required viewing by every human being.
While there are admittedly a few bumps in the road during The Leisure Seeker, as a whole the film is a beautiful journey through one couple’s history. Slight pacing issues and superfluous scenes aside, the heart of this film is the love between two people who adore one another to the core. As a granddaughter that has been witness to dementia, the disease can be an exhausting trip minute to minute. Donald Sutherland undoubtedly gives an award-winning performance, navigating memory loss through ever-changing beats. I counted no less than four distinctive version of the same man portrayed on screen by Sutherland. For Helen Mirren, this role feels like a bit of a departure. It is one that requires both a facade and unadulterated softness. The chemistry between these our stars is movie magic. If you have ever experienced two people who are so lovingly interdependent, then this film will resonate with you in between the dialogue. The care with which Mirren’s character takes in protecting her husband countered by the real moment to moment human frustration of this burden are palpable. The film may not be everyone’s cup of teas, as you will certainly be more affected if you have lived through these circumstances. The Leisure Seeker is not a glamorous film. It is raw and poignant in its quiet.
In a complex and incredibly nuanced new film, sisters must decide if physical and emotional separation is what they need to survive. Indivisible is a story of exploitation and personal desire.
Angela and Marianna Fontana play conjoined twins Dasy and Viola. Sought after for their singing talents and local idolatry, everyone wants a piece of them. Born into a selfish family living off the girls’ fame, they are forced to perform, threatened by guilt and permeating greed. While one sister yearns to be surgically divided, the other feels devastated by the idea. In bold performances from these real-life twins, we are rooting for their ultimate happiness. Despite being attached at the hip, each young woman gives a brilliant performance. Full of dreams and determination, these ladies own the screen is presence and ability. Battling religious fanaticism and the seduction of escapism, our leading ladies ooze with charisma. Indivisible takes a heartfelt and intimate approach to dismiss the sideshow mentality. Every theme in this script is some sort of double entendre. With beautiful cinematography on top of a clever and unexpected script, Indivisible is one of a kind.
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Based on the novel “Dan Leno and the Limehouse Golem” by Peter Ackroyd, the film was written by the acclaimed writer Jane Goldman (Kingsmen, The Woman in Black), directed by Juan Carlos Medina (Painless) and produced by Stephen Woolley (Their Finest, Interview with a Vampire), Joanna Laurie (Hyena) and Elizabeth Karlsen (Carol). The film stars Bill Nighy (Love Actually, Underworld), Olivia Cooke (Me and Earl and the Dying Girl, “Bates Motel”), Douglas Booth (Pride, Prejudice and Zombies, Noah), Daniel Mays (“Line of Duty”) and Eddie Marsan (Sherlock Holmes, “Ray Donovan.”)
The Limehouse Golem is a whirlwind mystery. Jane Goldman has taken Peter Ackroyd‘s novel and brought it to life from page to screen and ultimately stage since much of the story revolves around live performances and theatrical ambition. The costumes and set are gorgeous, striking a perfect visual balance of play costumes and period dress. The dark Limehouse district scenes of macabre and the vibrant, hyper-saturated theater are striking in contrast. The story cannot help but grab you as you try to keep up with the suspects alongside Nighy‘s lead. 
The cast is a true ensemble of talent. Bill Nighy‘s role was originally meant for the late Alan Rickman, but once his health began to decline Nighy stepped into the role. The film is actually dedicated to Rickman’s memory. Nighy is brilliant and powerful as usual in his honest search for the truth. Olivia Cooke, who’s talent is grossly underrated, does a spectacular job as she navigates a complicated woman in Lizzie Cree. I would be remiss if I didn’t give a standing ovation, as it were, to Douglas Booth in his engrossing portrayal of real life actor Dan Leno. Funny, touching, purely entertaining, Booth owns this role. The script will keep you on your toes and with a murder mystery, what more can you ask for?
Maudie is the story of two misunderstood people who yearn for physical and emotional connection. Finding one another at their loneliest, Maud and Everett form a seemingly unlikely bond navigating their way from work relationship to honest intimacy. The script has a quiet beauty, with cinematography that is as vibrant as Maud’s unique artwork. Sally Hawkins‘ performance in the titular role is nothing short of award-worthy. While portraying real life folk artist stricken with severe arthritis, each movement seems both physically pained and balletic all at once. Ethan Hawke steps outside his usual cool guy fare to portray a rather rough around the edges fishermonger. Their chemistry on screen is an absolute joy to watch. Maudie is an unusual love story that will capture your heart and touch your soul.
I have to be honest. I had extremely high hopes for Salt and Fire based on Werner Herzog‘s direction and the star studded cast of Michael Shannon, Veronica Ferres, and Gael Garcia Bernal. Boy, oh boy, was I disappointed. Filled over the brim with overly philosophical quotes and MIA cast members, I struggled to even finish the film. The disjointed feeling of the plot and the hyper theatrical dialogue delivery in the first half of the film are pretty brutal. Michael Shannon, however, gives another sterling performance especially considering what he’s been given to work with. The ending, the final 10 minutes of the film, is so syrupy I sort of just sat there with my mouth open. Maybe it’s just me. Maybe, somehow, the film is over my head. At this point, I just can’t tell. By all means, be your own judge. You can find the trailer below:
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Sometimes, when it’s 3 am and my unborn baby girl decided it’s an awesome time to do a dance instead of letting me sleep, I become, shall we say, a little grumpy. 3 weeks away from my second child, I’m freaking tired and sore and over being pregnant. Don’t get me wrong, I’m thrilled for this peanut. My soon to be two children will be less than 16 months apart. Yup, two under two. I shudder to think about the amount of rest I will not be getting for the next 18, nay, 19 years. All that being said, I’ll have my perfect little salt and pepper set, all we need is the dog. There will be days I will want to flee, I’m sure… but I cannot imagine a day where the acts of my kids will compel me to start, let’s say, murdering people. Though, it’s early and who am I to judge. In Alice Lowe‘s directorial debut, PREVENGE, Ruth’s unborn child is telling her to murder a very specific list of people and perhaps for a good reason.
Written, directed and starring Lowe while she was actually 7 1/2 months pregnant, Prevenge is savage and wickedly demented. Sharp British humor heightens this in-your-face rampage. As much as you attempt to figure out the actual reason for the string of murders, you won’t until very late into the film and thus a sign of great writing. Lowe’s portrayal of Ruth is frighteningly grounded and wonderful. The cast is filled with familiar faces and the chemistry between Lowe and her (mostly) victims is perfection. The colors are vibrant and the jarring jump cuts interspersed are incredibly effective. The film is weird and gruesome and unlike anything you’ve seen before. It’s just plain cool.
Once we saw Dakota Fanning in I Am Sam, there was no doubting she would become one of the most talented actresses of her time. Taking on daring roles has always been part of her repertoire. She has never been afraid to push the envelope as a professional. In BRIMSTONE, Fanning plays a young woman whose life, we come to learn, has been nothing but hardship and emotional torture, mainly at the hands of one man. 
Guy Pearce plays a sadistic preacher hunting Fanning’s character, Liz. His sick interpretation of the Bible leads them both on a journey that takes danger to the next level. Liz only wants to protect her family and the Reverand wants nothing more than to destroy her. The script is extremely dark and completely unexpected. At a full 2hr and 20 min run, you never see what’s around the bend. It’s emotionally exhausting and that is meant to be a compliment. Pearce is vile in every way. Skin-crawlingly good in this role. Kit Harrington is a breath of fresh air and I wish we had seen more of him, but understand his purpose. The cast is exquisite and their chemistry is phenomenal.
Fanning is nothing short of brilliant, almost having to tackle several different characters in the same film. To say more would give away too much and I encourage you to experience the film for yourself. While Brimstone can be difficult to watch during multiple scenes, it’s presentation is outstanding. Presented as chapters of the Bible and out of order, you discover information along the way that ultimately sets up the ending. Never a dull moment, the film’s intensity cannot be denied. You can see Brimstone in theaters and On Demand this Friday, March 10th. Check out the trailer below.
My Name is Emily is a stunning coming of age film. Evanna Lynch shines in this complex role of a sad and brilliant young lady. The layers of this character come from the outstanding script from writer/director Fitzmaurice. Infusing philosophy, literature, poetry, loss and teenaged angst all intertwined into a story of finding oneself through letting go and letting people in. Michael Smiley is as wonderful as he’s ever been, touching the cornerstone of every possible emotion. George Webster, in particular, is one hell of a find. His natural ability to draw you in is reminiscent of the late Anton Yelchin. He will seduce you with his awkwardness and charm the pants off you all in the same scene. The honest chemistry between Lynch and Webster makes this film what it is. Another high note (pun not intended) is the glorious soundtrack. Each song evokes a familiarity that seems to fit perfectly into the moment. With a cool mix of voiceover moments and flashbacks, My Name is Emily is a true delight.
Jarmusch does it again with this seemingly simplistic story. The film elegant in that very simplicity. Following Paterson along on his daily routine, which only slight varies as the plot rolls along, we are privy to the everyday moments we often take for granted. We watch his breakfast, eavesdrop on conversations among his route passengers, sit with him on lunch breaks, walking home, and his nightly interactions with local bar patrons, his dog Marvin, and girlfriend Laura. She is a free spirit, artist, baker, and aspiring musician, painting everything in their home in black & white patterns. This is a stark juxtaposition to the lush cinematography when Paterson is out and about. There is an abundance of visual symbolism utilizing time and shadows and even with an almost 2 hr run-time, the film never loses its gentle pace. The beautifully easy score that underlies Adam Driver‘s fantastic voice overs as he writes his poetry in real-time, only serves to highlight how lovely this film truly is. Driver brilliantly portrays a man of calm and old-fashioned demeanor. He is quietly contemplative and extremely well read. With each role, he proves more and more what a star he is.
Knowing that the film is based on true events makes it that much more intriguing and upsetting. With gloriously elaborate sets and pristine period costuming, the look of Colonia perfectly sets the tone as the story rolls along. Starting with vibrant colors on the political revolutionaries in Chile and turning dark and monochromatic once we arrive at Colonia Dignidad. The script is comprised of vast research on the part of Director Florian Gallenberger. Perhaps what is most disturbing is the fact that I’ve never heard about this happening. You’d imagine something so awful would be much more in the limelight. This is a small but brilliant window into a terrible point in human history.
Emma Watson is simply a more grown up and matured star now. Tackling a role in which a woman rescues her boyfriend is brave and important and not often something we’re treated to these days. Her grace on screen is timeless. Daniel Brühl, who I had the pleasure of meeting during the 
Colonia is successful as a love story and a political thriller. The film is now available to view via the streaming platform 
In NYC, the homeless are a huge problem. If we’re being honest, most of us ignore them or wave them off and go about our lives. Paying $5 for a cup of coffee but turning our noses up at giving spare change to a person in need. It’s a cultural problem. It’s an epidemic that we have to face rather than pretend doesn’t exist. In Paul Bettany‘s brilliant directorial debut, SHELTER, we are brought into the lives of two homeless people who could not seem more different on the surface. 
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