A Conversation with Sarah Polley

In December of 2022, I had the pleasure of chatting with writer-director Sarah Polley about her new film Women Talking. The film, based on Miriam Toews’s novel of the same name, tells the story of the women in a Mennonite colony coming to grips with the fact that they have been sexually assaulted by the men in their lives, and debilitate while the men are absent from their community about what their options are in order to create better lives for themselves: leave the colony, fight for their own rights, or stay and do nothing.

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Isle of Dogs – Review


Wes Anderson’s second animated feature film Isle of Dogs (which can be said out loud as “I love dogs”) is delightful in every sense of the word. For as easy as it is to admire the consistency of a filmmaker like Wes Anderson whether it be via his trademark visual style or his distinctively quirky sense of humour, his style will understandably not be for everyone’s tastes. Speaking only for myself, I’ve been a rather dedicated apologist for Wes Anderson’s work for I’ve yet to find myself actively disliking a film under his own name – because the way Wes Anderson allows his own trademarks to adapt so well under different forms of storytelling only goes to show more proof as to why he is truly among the most unique filmmakers of his own generation, for he is truly in a league of his own.

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General Thoughts: The 90th Academy Awards

One knows already how predictable the Academy Awards can become after the route of the Golden Globes and the SAG Awards among many more, but in the 90 years that we have seen them moving onward, what they had managed to turn forth was not only one of the strongest lineups in a while but also one of the most pleasantly surprising, knowing where their own habits lie. If there was anything else to be said about what the Academy Awards have in store for us this year, then it only makes this year’s ceremony – unlike the past few at least, worth looking forward to.

Bold indicates my vote for said category.
Underline indicates who I think will win.

To read more about the picks this year in the major categories, click “read more.” Continue reading →

2017: A Year in Review

Another year is complete, but not without having talked about the wonderful experiences we’ve had at the cinemas. Together with the not-so-wonderful films. But alas, this has been an extraordinary year for films for the highlights still managed to stick their landing inside of our minds – and the inevitable “what about such and such?” will come but I will remind you that it would have been outright impossible for me to have been able to catch virtually every movie that had come out the previous year to make sure I wouldn’t forget other highlights that may not have made it.
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Three Billboards Outside Ebbing, Missouri – Review


At first I thought I knew what I was expecting because of the fact that Martin McDonagh was writing and directing. From In Bruges and Seven Psychopaths I would already have expected yet another dark comedy reveling in bloody violence and clever dialogue. What I didn’t expect was for Three Billboards Outside Ebbing, Missouri to also have much more of an emotional arc on its own behalf – all in order to back up what might also be one of the year’s most sociopolitically relevant films. This is a film that builds itself on anger, but it all seems so controlled to the point it even finds the perfect time for us to laugh. But many contradictions come along the way and soon reveal something all the more insightful and even if it may be drenched in what we’ve come to recognize from McDonagh’s trademarks it still feels so beautifully refreshing.

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Moonrise Kingdom – Review


As far as critical success is concerned, Moonrise Kingdom is Wes Anderson’s most popular and for fans of the director it would be easy to see why this has stood atop all the rest. Although Rushmore still remains my favourite of his own work, Moonrise Kingdom showcases his own talents in arguably the most accessible manners for audiences of all sorts, but nevertheless it seems as if this is where he has only found the quirkiness that defined his own films working at its very best. Perhaps I’ve already come to the point that I’ve watched so much of his films enough to consider myself an apologist, but they’ve always worked with the same charms as he tells stories of all sorts. In just how it captures the joys and quirks of being a child, Wes Anderson has struck gold once again with Moonrise Kingdom by telling a whole other story on the inside here.

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