All Posts By

North of Superior Film Association


By | Uncategorised | No Comments

Ville-MarieApril 10, 2016


Director: Guy Édoin
Cast: Monica Bellucci, Pascale Bussières, Aliocha Schneider, Patrick Hivon
Runtime: 101 minutes
Language: French with English subtitles
Rating: 14A

Santa Barbara International Film Festival: Best International Film.
Canadian Screen Awards Nomination: Best Supporting Actor, Patrick Hivon

“Evenly balanced performances and thoughtful direction keep the momentum going.”—Craig Takeuchi, Georgia Straight

In his second feature, director Guy Édoin links together a handful of characters through Ville-Marie, the Montreal hospital where the majority of the film takes place. Two automobile accidents will give these characters cause to despair and then to rediscover hope—tragedy breeding melodrama and long-cloaked truth.

French screen star Sophie (Monica Bellucci) arrives in Montreal to work in a melodrama directed by her former lover. She meets up with her gay son Thomas (Aliocha Schneider), whom she has not seen in three years, due to her reluctance to tell him the name of his father. Thomas has recently witnessed a road accident that’s been feverishly tended to respectively by paramedic Pierre, (Patrick Hivon) who’s suffering from post-traumatic stress disorder, and Marie, an overworked nurse (Pascale Bussières).

These four people are about to drift towards answers they’ve avoided their entire lives. It is how the characters find the means to gradually confront their issues that draws the audience into Ville-Marie.

Bellucci is perfect as the glamorous celebrity out of her element being a mom and Schneider the right mix of angry, lost, and empathetic. Hivon and Bussières exhibit the pain in their eyes that is almost, but not quite, absolved by the conclusion. This quartet might travel through the wringer, but each comes out better by the end.


By | Uncategorised | No Comments

TangerineApril 10, 2016

Director: Sean Baker
Cast: Kitana Kiki Rodriguez, Mya Taylor, Karren Karagulian
Runtime: 88 minutes
Language: English
Rating: 14A

Palm Springs International Film Awards: Directors to Watch Award; San Francisco Film Critics Circle, Seattle Film Critics Circle Awards, Independent Spirit Awards: Best Supporting Actress: Mya Taylor. 12 other award wins, 36 nominations.

“Tangerine” is the wildest screwball transgender comedy since Tony Curtis and Jack Lemmon donned lipstick, mascara and full-tilt female get-ups in “Some Like It Hot.”” – Colin Covert, Minneapolis Star Tribune

“Raw” and “gritty” best describes the tone of Tangerine, a take-no-prisoners view of life in an L.A. replete with ’hos, pimps, cops, and fast food. Actually, the movie is also a raucous, darkly funny comedy in the hands of director Sean Baker and co-writer Chris Bergoch.

Incredibly, the whole movie was shot on iPhones with yellow filters and a frequently phenomenal wide-screen look. This seeming gimmick lends great intimacy to a highly mobile tale more about texture than drama.

Drama is exactly what Alexandra (Mya Taylor) hopes to avoid when she has to inform best pal Sin-Dee (Kitana Kiki Rodriguez), fresh from a month in jail, that her pimp boyfriend took up with a “white fish” while she was away.

This sets off a chase through various unwholesome parts of town on an incongruous Christmas Eve, with our two trans sex workers acting as our potty-mouthed tour guides.

Despite the loose, mean-streets concept and a soundtrack that jump-cuts between classical music and bass-thumping electronica, the movie often feels like a sharp-edged stage play.

There’s a subplot with an Armenian cab driver (Karren Karagulian) unhappy with his traditional home life, but this pays off with pretty amusing cameos, especially by ex–Western star Clu Gulager as a drunken passenger.

In the end you’re both amused and moved by the big-screen dreams of small-time hustlers who, whatever the margins, want love like everyone else.


By | Uncategorised | No Comments

YouthApril 3, 2016

United Kingdom/Italy/France/Switzerland

Director: Paolo Sorrentino
Cast: Michel Caine, Harvey Keitel, Rachel Weisz, Paul Dano, Jane Fonda
Runtime: 124 minutes
Language: English, Spanish, Swiss, German (with English Subtitles)
Rating: 14A

Detroit Film Society, Best Actor (Michael Caine); European Film Awards:
Best Film, Director, Actor. 8 other award wins, 30 nominations.

“Sumptuous, sincere and built on aging bones, “Youth” is a wonder of a film, a look back at life’s sprawling possibilities, dark corners and aspirations.”—Tom Long, Detroit News

A wry meditation on aging, Paolo Sorrentino’s latest film Youth features sumptuous photography and music score, and serene portrayals by Michael Caine and Harvey Keitel as two lifelong friends who have different ideas about how to spend the remainder of their lives.

Fred (Caine) is a retired composer and orchestra conductor whose beloved wife is living in an institution in Venice. Fred is content to have left public life behind him, even declining the honour of conducting one of his compositions for the Queen. The reasons for this, eventually revealed, are particularly touching.

By contrast, Fred’s best friend Mick (Keitel), a film director, is still active, planning a movie with a quartet of young writers. They’re all staying in a hotel in the Swiss Alps where Fred’s distraught daughter, Lena (Rachel Weisz), also visits, having been abandoned by her husband, Mick’s son, for a younger woman.

Sorrentino includes moments of Fellini-esque extravagance (for example, the Miss Universe who descends, naked, into the hotel swimming pool, or a scene in which Mick imagines all the female characters from his films). There is another surreal scene
involving Jane Fonda as a fading movie star that makes a potent comment on the passing of time.

The finale is glorious, both musically and dramatically. As a universal story of how to deal with the passing of time and life’s changing circumstances, Youth is told with precision and tender serenity.

Where to Invade Next

By | Uncategorised | No Comments


April 10, 2016


Director: Michael Moore
With: Michael Moore, Krista Kiuru, Tim Walker
Runtime: 119 minutes
Language: English, Italian, French, German, Finnish, Norwegian, Portuguese, Arabic with English subtitles
Rating: 14A

Chicago International Film Festival, Hamptons International Film Festivals 2015: Best Documentary Feature. 10 other award nominations.

“Michael Moore goes on a global tour with this impishly entertaining polemic.” – Justin Chang, Variety

Cynics would call Michael Moore’s Where to Invade Next? a quixotic quest, if not an outright bogus one. But naysayers aren’t welcome this time.

Rediscovering his funny bone, Moore happily treks far and wide for quality-of-life ideas to take back to the U.S. He’s made his most enjoyable film in years and his most inspiring.

Moore’s travels take him mainly to Europe, wherein he visits countries that each seem to have found a better and more humane ways than America of delivering education, nutrition, employment, drug control, justice, women’s rights and many other social benefits.

In Italy, he marvels at workers who enjoy several weeks of paid time off. In France, he finds schools where gourmet meals are served. Portugal has zero arrests for drug abuse; Slovenia offers free university tuition it extends even to foreign nationals (including many Americans). (Moore manages to overlook how these ideals are achieved.)

Tunisia and Iceland have mastered gender equality where women have risen to the top of the heap with the inference that they’re superior to men in every regard. (Hello Margaret Thatcher?)

Moore candidly admits he’s only looking for good news in countries where not every day is a sunny one. He brings it all back home with a brilliant ending that suggests that maybe all these great “foreign” ideas aren’t so foreign after all.

Read More


By | Uncategorised | No Comments

TheebApril 10, 2016

United Arab Emirates, Qatar, Jordan, UK

Director: Naji Abu Nowar
Cast: Jacir Eid Al-Hwietat, Hussein Salameh Al-Sweilhiyeen
Year: 2014
Runtime: 100 minutes
Language: Arabic with English subtitles
Rating: PG

Venice Film Festival: Best Director; British Academy Film Awards: Outstanding Debut
by a British Writer, Director or Producer. Academy Award Nomination: Best Foreign
Language Film. 8 other award wins; 13 other nominations

“The film’s delights … include nods to classic Westerns and David Lean’s Lawrence of Arabia.”—Linda Bernard, Toronto Star

A disarmingly complex boyhood adventure with no shortage of tension or harsh beauty, Theeb marks a winning debut feature for co-writer and director Naji Abu Nowar.
Set in the Ottoman Empire in 1916, it chronicles the fraught journey of a tribal boy, Theeb—aka Wolf– (Jacir Eid), who excitedly follows his older brother Hussein (Hussein Salameh), tasked with escorting a British officer (Jack Fox) and his guide (Marji Audeh) across the desert.

The trip is fraught with bandits and mercenaries, however. In an unforgiving canyon pass, the group meets a violent fate that tests not merely young Theeb’s skills at survival but also, in an encounter with a wounded stranger (Hassan Mutlag), his Bedouin-taught strength of character in the face of unimaginable hardship.

Both a classically taut ’50s western and an Arabic coming-of-age drama, Theeb boasts emotionally resonant location cinematography from Wolfgang Thaler and a desert sound design — camels, wind, the echoed yells of bad men, a haunted score, even silence — that’s straight out of any dangerously curious boy’s most breathless nightmare.

In fact, it’s Nowar’s ability to tell his tale so firmly from the viewpoint of his quickly growing-up protagonist, and to elicit so unforced a performance from young Jacir Eid as Theeb, that may be the most impressive achievement of this intimate, well-paced film.


By | Uncategorised | No Comments

SpotlightApril 3, 2016


Director: Thomas McCarthy
Cast: Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber
Runtime: 128 minutes
Language: English
Rating: 14A

Academy Awards: Best Picture, Best Original Screenplay.
109 other award wins; 120 nominations

“It’s one of the best movies I’ve ever seen about the art and the science of newspaper reporting.” – Chicago Sun-Times, Richard Roeper

Spotlight is a mystery, a thriller and a human interest drama, but mostly it’s a love letter to investigative journalism. It’s based on real events.

The story centres on the Spotlight team at the Boston Globe and their 2002 Pulitzer Prize-winning investigation into sexual abuse in the Catholic Church. A group of reporters began with an investigation into pedophile priests and went on to discover corruption and cover-up that went right to the top of the organization.

The reporters’ digging unearths a bigger story — the powerful Boston Archdiocese is protecting the criminal priests, moving them to new parishes and turning a blind eye when they offend again, with plenty of legal protection for the offenders.

Spotlight is dedicated to showing what it took to get this story in this city: all the grunt work, digging and dogged persistence that underpins every major news feature.

The story unfolds with all the tension and intrigue of any great thriller.

This is a big story told on a small canvas, with a focus on the human face — clergy, victims, politicians and reporters — of the scandal. Director Tom McCarthy has said that he wanted to present the movie in the same hard-hitting and no-nonsense way that the journalists presented their investigation.

Son of Saul

By | Uncategorised | No Comments

Son-of-SaulApril 3, 2016


Director: László Nemes
Cast: Géza Röhrig, Levente Molnár, Urs Rechn
Runtime: 107 minutes
Language: Hungarian, Yiddish, German, Polish
Rating: 14A
Warning: Intense scenes

Academy Awards, Golden Globes, National Board of Review: Best Foreign Language Film. 43 other award wins, 37 nominations

“Director László Nemes films within a very claustrophobic and shallow-focused frame, bringing home the reality of the Nazi horror while also leaving much terror to the imagination.”—Peter Howell, Toronto Star

As with every Holocaust film, Son of Saul will stir debate that cinema is too trivial to encompass such profound evil. But there’s nothing trivial about this Hungarian masterwork from first-time director László Nemes. One does not merely witness horror; one feels it within their bones.

Nemes keeps his camera tightly focused on Saul Auslander (Géza Röhrig), a Jewish prisoner at Auschwitz. Saul temporarily escapes the ovens by serving with the Sonderkommando, Jews coerced to help execute other Jews and dispose of the bodies. The tight-framed camera allows the audience to see only what Saul sees, the more heinous acts blurred in the background, but all the more terrifying for that.

Tension surges when Saul finds a boy who has survived the gas. When the boy dies, Saul makes it his impossible goal to provide a Jewish burial. Is the boy Saul’s own son? Does he represent Saul’s breaking point, the embodiment of the crime and insult to Saul’s people made manifest in a single tragedy? It is as his fixation is rather a kind of irrational response to irrationality — or to be more precise, an irrational humane response to irrational cruelty.

All one needs to know is in the haunted eyes of Röhrig, whose raw and riveting performance deserves superlatives. Nemes is tackling a subject of enormous complexity. The result is, quite simply, a great film.

Read More

Slow West

By | Uncategorised | No Comments

Slow-WestApril 10, 2016

United Kingdom/New Zealand

Director: John Maclean
Cast: Michael Fassbender, Kodi Smit-McPhee, Ben Mendelsohn
Runtime: 108 minutes
Language: English
Rating: 14A

Sundance Film Festival, Grand Jury Prize. London Critics Circle Film Awards: Breakthrough Filmmaker. 2 other award wins, 11 nominations.

“There’s more to the story than meets the bull’s eye in Slow West, a brainy and genre-defying western by newcomer John Maclean comprar viagra sin receta medica.”—Peter Howell, Toronto Star

Young, Scottish greenhorn Jay Cavendish (Kodi Smit-McPhee) is making his way across wild Colorado, heading west in pursuit of his love, Rose Ross (Caren Pistorius). Jay happens upon grizzled Silas Selleck (Michael Fassbender) who offers to guide hapless Jay for a fee. Jay soon finds that he’s in over his head far more than he realized. .

Unbeknownst to Jay, Rose and her father John (Rory McCann) have a price on their heads, and Silas is actually a bounty hunter. There are other outlaws looking to cash in as well, including Silas’ old mentor, Payne (Ben Mendelsohn). An all out shoot out between the competing parties ensues, as Jay rushes to defend his love.

First-time feature director Maclean manages a delicate balancing act of orchestrating gunplay and death infused with a hefty measure of heart. But what makes Slow West ultimately so entertaining is how much the film goes against expectations, and for a Western—that’s no small feat.

Fassbender’s Silas, seemingly cold and curt, reveals to have some evolving personal integrity, and a knack for a comic aside. Smit-McPhee takes Jay beyond pathetic and upward to determined and noble. Newcomer Caren Pistorius as Rose has little screen-time but owns it when she has it. She is one of many welcome surprises to be found in Slow West.

Read More


By | Uncategorised | No Comments

<img class="alignleft size-full wp-image-625" src="" alt="Rams" width="487" height="720" srcset=" 487w,×300 viagra es venta libre.jpg 203w” sizes=”(max-width: 487px) 100vw, 487px” />April 3, 2016


Director: Grímur Hákonarson
Cast: Sigurour Sigurjonsson, Theodor Juliusson, Charlotte Roving
Runtime: 93 minutes
Language: Icelandic with English subtitles
Rating: PG

Cannes 2015, Un Certain Regard Award; Palm Springs International Film Festival, Best Actor(s) Sigurjonsson & Juliusson. 15 other award wins, 5 nominations.

“Rams is a touching humanist drama set in a remote farming valley where two estranged brothers must come together to save what’s dearest to them: their sheep.” – Alissa Simon, Variety

A story of filial rivalry in a remote valley in Iceland, Rams begins as an oddball comedy about sheep farming and grows slowly into a tale of elemental and moving power. In a secluded valley in Iceland, Gummi (Sigurour Sigurjonsson) and Kiddi (Theodor Juliusson) live side by side, tending to their sheep. Their ancestral sheep-stock is considered one of the country’s best and the two brothers are repeatedly awarded for their prized rams who carry an ancient lineage.

Although they share the land and a way of life, Gummi and Kiddi have not spoken to each other in four decades. (Grudging communication comes via notes attached to a sheep dog.) When a lethal disease suddenly infects Kiddi’s sheep, the entire valley comes under threat. The authorities decide to cull all the animals in the area to contain the outbreak. This is a near death sentence for the farmers, whose sheep are their main source of income, and many abandon their land.

But Gummi and Kiddi don’t give up so easily – and each brother tries to stave off the disaster in his own fashion: Kiddi by using his rifle and Gummi by using his wits. As the authorities close in, the brothers will need to come together to save the special breed passed down for generations, and themselves, from extinction.

Read More

One Floor Below

By | Uncategorised | No Comments

One-Floor-BelowApril 10, 2016

Romania, Sweden, France, Germany

Director: Radu Muntean
Cast: Ionut Bora, Liviu Cheloiu, Calin Chirila
Runtime: 93 minutes
Language: Romanian with English subtitles
Rating: 14A

Seville European Film Festival: Best Actor, Best Screenplay; National Society of Film Critics: Special Citation. Two other award wins, three nominations.

“The film takes a character who would be merely incidental in a more conventional film and uses him to construct a poignant meditation on responsibility, guilt and community.” – Leslie Felperin, Hollywood Reporter

Fans of the Romanian New Wave know that, paradoxically, the less that happens on screen, the more that goes on in the story.

By that measure, One Floor Below is a busy film indeed. We meet Sandhu Patrascu (Teodor Corban), dog-owner, father and co-owner (with his wife) of a business that deals in car registrations.

One day, Sandhu bumps into a neighbour, Vali (Iulian Postelnicu), who he just heard fighting with a woman in her apartment. The next day, the woman’s been bumped off. Or maybe it was just an accident?

The police come round to ask some routine questions, and Sandhu answers them routinely enough – except that he neglects to mention the fight, or Vali. The cop presses mildly: “Anything that bears mentioning?” Nope.

From this point on, One Floor Below turns into a simmering stew. Vali starts hanging around Sandhu’s apartment, helping his son set up a computer and then asking Sandhu to help him change the registration on his car. Sandhu agrees, but becomes more edgy as time passes. Sandhu is increasingly apprehensive as Sandhu ingratiates himself with his family.

Director Muntean challenges audience expectations in this slow-burn thriller. Here’s a death where the facts don’t quite add up, and damned if Muntean is going to make them do so.

Read More

No Men Beyond This Point

By | Uncategorised | No Comments

No-Men-Beyond-This-PointApril 10, 2016


Director: Mark Sawers
Cast: Rekha Sharma, Bruce Harwood, Kirsten Robek
Year: 2015
Runtime: 80 minutes
Language: English
Rating: PG

Vancouver Film Critics Circle: Best Supporting Actress in a Canadian Film: Tara Pratt; Other Worlds Austin Sci-Fi Film Festival: Audience Award, Best Editing,
Best Actor, Patrick Gilmore, Best Script.

“The film takes what could have been a highly divisive topic and comes out of it poking fun at all sides.”—Richard Scheib, Sci-Fi, Horror & Fantasy Film Review

What if men no longer served any purpose on Earth? That’s the hook of the absurdist mockumentary No Men Beyond This Point, which presents an alternate universe where in the 1950s, women suddenly gained the ability to reproduce asexually.

Director Sawers blends mocked-up historical scenes and real stock footage to hilarious effect, offering a witty retelling of world history but one where events have been rewritten with women in charge. There is the hippie movement, the Women’s Lib movement, Gay Rights, and Marriage Equality, but all rewritten in terms of a women-ruled world.

With years passing, and women’s population increasing, men eventually became of no use. The film starts in the present day, where the documentary crew follows 37-year-old Andrew Myers (Patrick Gilmore), now the youngest man in the world. As men are being sent off to sanctuaries across the world to live out their remaining days, Myers manages to get a job as a servant for partners Terra (Tara Pratt) and Iris (Kristine Cofsky). Eventually, Andrew and Iris being showing an attraction for each other and Sawers uses their flirtations to delve into the messier aspects of his universe.

No Men Beyond This Point is an enjoyable, deadpan romp. It’s fascinating to see just how much Sawers has thought out his idea of a world where women rule everything. It will certainly spark dialogue.


By | Uncategorised | No Comments

MustangApril 3, 2016


Director: Deniz Gamze Ergüven
Cast: Nihal Koldas, Ayberk Pekcan, Ilayda Akdogan, Elit Iscan, Tugba Sunguroglu
Runtime: 94 minutes
Language: Turkish with English Subtitles
Rating: PG

Chicago International Film Festival: Audience Award; Academy Award, Golden Globe Nominations: Best Foreign Language Film. 30 other award wins, 42 nominations

“A beautifully mounted story about the demonization of young female sexuality in a remote Turkish village.” – Jay Weissberg, Variety
Five teenaged girls living in a seaside Turkish village are having a little too much fun celebrating the end of the school year, innocently frolicking with some boys on the beach. Their punishment? The family patriarch – the uncle who’s raised them since their parents’ death – removes them from school, puts them under house arrest, and starts marrying them off.

The girls try to make the best of their imprisonment by pretending and fantasizing. At one point the youngest sister leads an escape to a football match, where the crowd is all female. The girls next plan to flee to Istanbul, which elevates the film into a tense thriller.

Ergüven empathetically presents the village women – especially the girls’ grandmother – as more bent on protecting the girls than controlling them, but the director is plainly furious with the entire system. (The drama is loosely based on the life of the director.)
That anger, however, never takes over or messes with the craft. Ergüven gets great performances from her cast and creates gorgeous images of the five sisters at play and in repose.

With Mustang, Ergüven has made a fiercely feminist statement into a work of art.

Read More

Les Etres Chers

By | Uncategorised | No Comments

Les-Etres-ChersApril 3, 2016


Director: Anne Émond
Cast: Louis Morissette , Maxim Gaudette, Karelle Tremblay
Runtime: 102 minutes
Language: French with English Subtitles
Rating: 14A

Canadian Screen Awards: 9 Nominations, including Best Picture

“Writer/director Anne Émond offers a valuable lesson in forgiveness and of letting go of the past with her wonderful sophomore feature Les êtres chers.”—Pat Mullen, Cinemablographer

Filmmaker Anne Emond shows increasing promise with her second feature, Les Etres Chers (Our Loved Ones), an emotionally potent film about a Quebecois family forced to cope with a family tragedy. This sophomore effort is distinctive for pitch- perfect performances and graceful storytelling.

After the paterfamilias of the Leblanc family hangs himself, for reasons gradually revealed, David (Maxim Gaudette), the eldest of his five children, carries on the family business of crafting and selling marionettes. For years, he lives what appears to be an idyllic life with his wife, Marie (Valerie Cadieux), and their two children in Bas-Saint-Laurent.

Life is placid enough until David is suddenly backhanded by the past: He learns, years after the fact, that his father did not die of a heart attack, but committed suicide. David was shielded from the truth because he was considered too “sensitive” to deal with such painful knowledge.

Gradually, the genial David gives over to melancholy and solitary walks. Concerned by her troubled father, Laurence (Karelle Tremblay), David’s elder offspring with whom he shares a special rapport, must consider the possibility that she may inherit the legacy that her father inherited from his.

Les Etres Chers unfolds tangentially, with many sequences of warm family interactions counterbalancing the growing shadow of generational secrets and burdens.

The cast is exceptional but Gaudette truly stands out as David. His character’s spirit imbues Les Etres Chers with its touching humanity.

Ex Machina

By | Uncategorised | No Comments

Ex-MachinaApril 10, 2016

United Kingdom

Director: Alex Garland
Cast: Domhnall Gleeson, Oscar Isaac, Alicia Vikander
Runtime: 108 minutes
Language: English
Rating: 14A

Academy Award, Best Achievement in Visual Effects; Los Angeles Film Critics
Awards: Best Supporting Actress, Alicia Vikander; 56 other award wins, 124 nominations

“Ex Machina packs a scientist’s brain inside a thrill seeker’s body, much like the nubile robot within it.” – Peter Howell, Toronto Star

Alex Garland, writer of 28 Days Later, makes an auspicious directorial debut with the unsettling sci-fi thriller, Ex Machina. The film deftly explores multiple themes including the considerations of advancing science technology, male attitudes toward women, and questions if love could exist between humans and an Artificial Intelligence.

Caleb (Domhnall Gleeson, Frank) is an Internet coder who wins a workplace competition to spend a week with the mysterious, abrasive, billionaire genius CEO Nathan (Isaac) at his vast hermetic woodland estate in Alaska, accessible only by helicopter.

The nerdy Caleb soon learns from his provocative boss that he’s to participate in an enigmatic research experiment to test how far out Nathan’s newest A.I. creation, Ava, (Alicia Vikander, The Danish Girl), has achieved consciousness. Ava is a female robot who expresses herself as a sensual woman, despite her naked wiring, synthetic covering, and metal parts.

The plan is for Caleb to see if Ava can fully pass the Turing test (named after 1950s computer code-breaker Alan Turing) to see if she pass as human. Caleb finds that
he is attracted to Ava but soon wonders whether he can trust either Nathan or Ava.

The minimalist film is filled with surprises, strong performances, and stunning visuals. Ex Machina is witty and dazzling, and asks how much humans can sympathize with the A.I. beings who can out-think them.


By | Uncategorised | No Comments

CarolApril 3, 2016


Director: Todd Haynes
Cast: Rooney Mara, Cate Blanchett, Sarah Paulson
Runtime: 118 minutes
Language: English
Rating: 14A

AFI Awards: Movie of the Year; Australian Film Institute: Best Actress, Cate Blanchett; 54 other award wins, 206 award nominations, including 8 Oscar nominations.

“Haynes crafts a tender, devastating romance but also surveys a battleground of power and control.” – Isabel Stevens, Sight and Sound

In an adaptation of Patricia Highsmith’s seminal novel, “The Price of Salt,” Carol follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950s New York.

As conventional norms of the time challenge their undeniable attraction, an honest story emerges to reveal the resilience of the heart in the face of change. A young woman in her 20s, Therese Belivet (Rooney Mara), is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol (Cate Blanchett), an alluring woman trapped in a loveless, convenient marriage.

As an immediate connection sparks between them, the innocence of their first encounter dims and their connection deepens. While Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light.

Carol is a casting coup, with Blanchett’s inherent languor—her low drawl, a breath away from boredom—played off against the perter intelligence of Mara, whose manner is caught between the alien and the bird-like.

Haynes maintains the film’s temperature at a low simmer and expertly brings it to the boil, but while Carol builds to a scene of intense eroticism, it’s mostly about all the things you can’t reach out and touch.

Born to be Blue

By | Uncategorised | No Comments

Born-To-Be-BlueApril 3, 2016


Director: Robert Budreau
Cast: Ethan Hawke, Carmen Ejogo, Callum Keith Rennie
Runtime: 97 minutes
Language: English
Rating: 14A

“Budreau constructs with imagination and pleasing fluidity, painting a portrait with a soft, sympathetic focus while steering clear of worship.”—Brad Wheeler, Globe and Mail

“Ethan Hawke gives one of the best performances of his career in Robert Budreau’s Chet Baker non-biopic.” – Andrew Barker, Variety

After being plucked out of an Italian prison in 1966, jazz trumpeter Chet Baker (Ethan Hawke) is paroled in order to star in a cinematic adaptation of his life story.

After a violent run-in with his former heroin dealer destroys his already tarnished reputation shelves the film indefinitely and leaves Baker unable to play his beloved instrument, the musician finds solace in Jane (Carmen Ejogo), the actress who was tasked with playing an amalgamation of all of Chet’s past loves.

Jane tries leading Chet on the straight and narrow — with the help of his still skeptical former record producer (Callum Keith Rennie) — and back to a life of making music and clean living.

Born to be Blue dazzles thanks to an exemplary performance from Hawke in what might be his best role to date. Baker’s often soft-spoken and conciliatory nature belies a lot of tics, neuroses and a temper that often flares like a gasoline fire, and Hawke nails every bit of it, with Rennie and Ejogo acting nicely as equals in Baker’s life.

Canadian writer and director Robert Budreau also deserves a lot of credit for not forcing his film to be a comprehensive biopic but rather a look at a fixed point in time that Baker’s life will be informed by.

Hawke and the material galvanize the final results into a bio-pic that resonates long after

Read More


By | Uncategorised | No Comments

AmyApril 10, 2016

United Kingdom

Director: Asif Kapadia
With: Amy Winehouse, Mark Ronson, Tony Bennett
Runtime: 128 minutes
Language: English
Rating: 14A

Academy Awards, National Society of Film Critics Awards: Best Documentary; 39 other award wins, 40 nominations

“Amy Winehouse’s star shines so brightly in Amy, a treasure trove of found footage of the late artist.” – James Verniere, Boston Herald

What makes Asif Kapadia’s documentary, Amy, a devastating don’t-miss dazzler is the way he lays out her story without editorializing. Kapadia shows us the transformation of this mischief-loving Jewish girl from North London into a peerless interpreter of jazz and soul, ready to take her place with such greats as Ella Fitzgerald and Tony Bennett.

Kapadia goes to the source. Winehouse, who died of alcohol poisoning in 2011 at age 27, left behind a motherlode of recorded personal details. There are photos and personal videos shot by family, friends, and her loyal manager that are deftly woven into the narrative. Amy’s youth, like her talent, explodes off the screen. That’s what makes her public decline, brutally recorded by the media, so gut-wrenching.

Kapadia does editorialize on Amy’s dad, Mitch Winehouse, and her ex-husband, Blake Fielder-Civil, where it is suggested that both contributed to her precipitous decline.

Credit Kapadia, though, for not overplaying the victim card. Kapadia wisely uses Amy’s songs, with lyrics on-screen to trace her story, from her early days to her final concert in Belgrade, a month before she died, when she went on stage drunk and never sang a note, consumed by her various demons. But one can’t turn away, because the film has made Amy so touchingly, recognizably human.

Al Purdy Was Here

By | Uncategorised | No Comments

<img class="alignleft size-full wp-image-615" src="" alt="Al-Purdy-Was-Here" width="487" height="720" srcset=" 487w,×300 donde comprar viagra por internet.jpg 203w” sizes=”(max-width: 487px) 100vw, 487px” />April 3, 2016


Director: Brian D. Johnson
Featuring: Gordon Pinsent, Leonard Cohen, Margaret Atwood
Runtime: 90 minutes
Language: English
Rating: PG

Toronto International Film Festival: Audience Choice Award, 3rd Place

“Canada’s greatest poet receives a warm and eminently watchable tribute from critic turned filmmaker Brian D. Johnson.”—Adrian Mack, Georgia Straight

A film about a Canadian poet sounds like the compulsory snoozy Can-con stuff endured by bored high school students. However, retired Maclean’s film critic Brian
D. Johnson deftly brings to life the career of award-winning Al Purdy, a two-fisted, eccentric artist, juxtaposing illuminating interviews with some of Purdy’s literary contemporaries and inspired performances by musical artists who were influenced by him. What emerges is a thoroughly entertaining portrait of a great Canadian icon.

The film benefits immeasurably from archival footage of Purdy himself, a colourful figure with tousled hair, often dressed a rumpled, loud clothing. His rumbling baritone with colourful phraseology comes to the fore in TV interviews with Adrienne Clarkson and William F. Buckley. An intimate sit-down with Purdy’s 90-year-old widow, Eurithe, is also fascinating for what she grudgingly reveals and not to reveal about Al, including some dark areas in their past.

Johnson knits together many interesting components that serves the subject: a tour of Purdy’s celebrated A-frame home, once a gathering place for writers of his day, now functions as a retreat for budding writers; interviews with the likes of Margaret Atwood (who recalls Purdy peeing on her car); readings by novelist Joseph Boyden, and performances by Leonard Cohen, Sarah Harmer, Gord Downie, and Bruce Cockburn. These elements combine to make Al Purdy Was Here an enjoyable celebration of Canadiana.

A Royal Night Out

By | Uncategorised | No Comments

A-Royal-Night-OutApril 7, 2016

United Kingdom

Director: Julian Jarrold
Cast: Sarah Gadon, Bel Powley, Emily Watson
Runtime: 97 minutes
Language: English
Rating: PG

Hamptons International Film Festival, Breakthrough Performer, Bel Powley.
British Independent Film Awards Nomination: Breakthrough Performer, Bel Powley

“A Royal Night Out is a film of enormous charm, texture and good will, thanks largely to the three leads.”—Rex Reed, New York Observer

A Royal Night Out is a spunky trifle is set in London in 1945 on VE Day when Princesses Elizabeth and Margaret were allowed to celebrate the end of WWII on the streets of London with the commoners. What really happened that night? Who really knows, but imagining what may have happened turns out to be quite a lot of fun.

The film stars Sarah Gadon as the future queen, Elizabeth aka “Lillabets”, and Bel Powley as Margaret aka “P2” because she’s like the runner-up princess. After some cajoling, King George (Rupert Everett) and the current Queen Elizabeth (Emily Watson) reluctantly give their assent. The girls are allowed to hit the streets incognito.

The movie moves vigorously through a variety of escapades, from the Ritz to Trafalgar Square to a romantic interlude watching fireworks over the city from a riverboat in the Thames. Director Julian Jerrold (Kinky Boots) captures the excitement of a liberated London after the Blitz in full patriotic splendor, enhanced by the burnished cinematography of Christophe Beaucarne and the glorious big band jazz of the period.

A Royal Night Out is a film of enormous charm. Canadian actress Sarah Gadon makes a kind, wise, and dignified Princess Elizabeth, revealing glimmers of England’s future monarch, and as the giddy, flighty Princess Margaret, Bel Powley lives up to her “Breakout Star” accolades. At the end of their remarkable adventure, their Royal Highnesses discover more about their subjects than they would ever learn behind the stately walls of a castle.

99 Homes

By | Uncategorised | No Comments

99-HomesApril 7, 2016


Director: Ramin Bahrani
Cast: Andrew Garfield, Michael Shannon, Clancy Brown
Runtime: 112 minutes
Language: English
Rating: 14A

Los Angeles Film Critics Association Awards, San Francisco Film Critics Circle:
Best Supporting Actor, Michael Shannon. Six other award wins, 24 nominations

“99 Homes is an exciting and emotionally grandstanding drama about temptation, shame, humiliation and greed.” – Peter Bradshaw, Guardian

99 Homes ultimately establishes itself as a perfectly watchable drama that benefits substantially from the stellar efforts of its two stars necesito receta para comprar viagra. The storyline follows Andrew Garfield’s Dennis Nash as he and his family are evicted from their house by a ruthless realtor (Michael Shannon’s Rick Carver), with the movie subsequently exploring the ramifications of Dennis’ reluctant decision to become Rick’s right-hand man.

Filmmaker Ramin Bahrani kicks 99 Homes with an absolutely electrifying interlude that unfolds in a single, uninterrupted take, with the effectiveness of this pre-credits sequence paving the way for a first half that’s often entertaining and engaging than anticipated. The engrossing vibe certainly extends to the absolutely riveting sequence in which Rick forces Dennis to leave his home, and it’s clear that the impact of this scene is heightened considerably by Garfield and Shannon’s incredibly intense work here.

From there, 99 Homes transforms into a Scorsese-like rise-and-fall type of endeavour – with the emphasis placed on Dennis’ ascension through Rick’s ranks and his inevitable crisis of conscience.

Bahrani sprinkles the latter half of the proceedings with several stand-out sequences – eg Rick delivers an undeniably riveting speech about his modus operandi. It’s clear that the movie accomplishes what it sets out to do, and there’s little doubt that the film’s entirely relevant storyline can only help improve its chances at box-office success.

45 Years

By | Uncategorised | No Comments

45-YearsApril 3, 2016

United Kingdom

Director: Andrew Haigh
Cast: Charlotte Rampling, Dolly Wells, Tom Courtenay
Runtime: 95 minutes
Language: English
Rating: 14A

Academy Award Nomination: Charlotte Rampling; Boston Society of Film Critics: Best Actress, Charlotte Rampling; 18 other awards, 40 nominations

“Both actors deliver a master class in expression by understatement.”—Peter Howell,
Toronto Star

45 Years is a movie about a lengthy marriage. But there’s far more to it than that.

That long and apparently happy union is quietly dismantled here, thanks to absolutely compelling performances from Charlotte Rampling and Tom Courtenay at the top of their understated game.

As Kate and Geoff, the long-married couple is getting ready to celebrate a 45th wedding anniversary. They are both retired and leading a sort of slow, quiet life in a pleasant village, dogs underfoot and friends nearby.

Then a letter arrives. Geoff learns that the body of his first love has been found. The woman, Katya, died walking with Geoff in the Alps; her body, after 50 years, has been recovered from the ice.

Kate has known about Katya, of course. It’s just that Geoff’s response to this news is a bit startling. He is rather more obsessed with Katya’s memory than Kate had realized. It slowly dawns on Kate that she’s been in line behind a ghost all this time, playing second fiddle to a memory that’s more alive than anything real or present.

How the past haunts the present and beyond is part of the main framework of 45 Years. There is the sobering realization that despite much intimacy, we’re all far more alone than we know, separated from one another by the usual secrets and lies.

45 Years is unhurried and essentially uneventful, but it is compelling.