‘Children of Men’ Review: Searching for Hope in the Darkest of Times

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When talking about the greatest science fiction films of the 21st century, for me only one film comes to mind when talking about the very best of such and that film is none other than Alfonso Cuarón’s Children of Men. Although its setting into the future may not have exactly predicted the turn of events in our world to come, there’s still something scary about the fact that we as a species have come so dangerously close to approaching the chaotic world that Children of Men shows us especially if the political climate only ever encourages such mayhem. Worth noting is the fact that Children of Men had barely made enough money to recoup its budget back when it came out, only being reflective of what it feels to be ignored when a message so important needs to find its way to get out. You’ll only watch a film like this wondering how come it actually happens to be so prescient, but at the same time you’d never want any of this to feel like it could become our own reality. You don’t ever want to see something like this happening, and you can continue telling yourself that it won’t ever become the truth, but that’s what makes Children of Men stick its landing so beautifully.

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2018: Another Year of Cinema Come and Gone

This year was a real game changer for a person like myself. To kick things off, it was the first year in which I was able to attend TIFF as a press member rather than as any other audience member. It was a defining moment for myself, though I don’t want to brag a little too much about what happened there. It was just a good year for cinema in general. That’s all I can really say, and I want to bring more attention to the many films that I absolutely loved this year – and so many of them came around this year and so forth. We’re already nearing the end of a decade, and through the good and the bad, the cinema has always been able to provide nothing but the greatest pleasures through and through. Although as we look through the films that have come to define 2018 as a whole, there were many surprises that came along the way just as there were disappointments – all of which came in between the very best and the worst in cinema through the year. So without further ado, let us begin. Continue reading →

The 91st Academy Awards: Comments and Concerns

It has been an absolutely astonishing year for the cinema. But for as amazing a year as 2018 had been, we’re also left with facing one of the most insulting awards seasons to have come by in recent memory. You’d think that given last year’s set of nominees they actually would have been growing progressively better, especially having given a film like Moonlight the top honour for the 2016 ceremony (and a well-deserved one at that), but after the Golden Globes came by, I was already worried that we’d already be in store for one of the absolute worst in recent memory. To think that the Oscars would already have gone far beyond that “popular film” award in order to try and raise their viewership, as if the ceremonies themselves haven’t already been stale enough (i.e. overlong montages praising the industry and shallow activism that amounts to nothing), who knew that we’d be in store for one that was so out of touch – particularly in last year’s amazingly bad timing (with it being only barely ahead of the Olympics rather than in February like they usually were)? As a supposed celebration for the cinema comes by within the year, there are many things here to be concerned about.

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Alfonso Cuarón’s Roma May be Small, But Every Moment Feels Grand: TIFF Review

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This one’s been sitting in my mind for quite a lengthy period of time – perhaps it’s only going to sit there for all I know. But that’s one thing I’ve always loved about a film director like Alfonso Cuarón, because in those long shots we only see life moving the way it is in Roma, yet another impressive effort only continuing a stream of success for the Mexican filmmaker. But of course there’s a lot of patience coming along the way with waiting for a new film by Cuarón, with this being his first film since his Oscar-winning Gravity but it also marks the first time in which he has made a film in his native Mexico since Y Tu Mamá También, with him returning to small-scale filmmaking. But even if that was the case that Cuarón presents with Roma, there’s so much to be admired in this passion project for the Mexican filmmaker – you already feel his personal touches all over this film. That’s what already makes Roma so special, because you feel how special this story is to Alfonso Cuarón.

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Why I Care: The 90th Academy Awards

We always tell ourselves whenever there’s an Oscars ceremony that we don’t ever care about what they pick for Best Picture, because it’s always been up to us to decide how the films play for ourselves. But no matter how many times we like to reaffirm that the Oscars are ultimately just meaningless to our own opinions of the films themselves, the better question to ask ourselves is why do we keep watching them? I’m not of a mind that has ever believed in the Academy Awards as arbitrary to how we feel about the films that we watch over the years, but I always watch because they are also indicative of how the industry chooses to move forward in the future. When La La Land lost last year to Moonlight after an erroneous announcement, what did not come by was merely a victory for LGBT films in the sense that we were finally recognized by the Academy in their choice to award us Best Picture, but because odds were never certainly going to add up in its favour, it was a moment of triumph for aspiring filmmakers like myself.

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