Skip to content

Blu-ray Review: Stephen King 5-Movie Collection

September 22, 2020

By John Corrado

Last week, Paramount released a new five film collection of Stephen King adaptations on Blu-ray, right in time for the annual October horror movie marathons leading up to Halloween. Below is a brief rundown of the films included in the five disc set, which span from 1983 to 2019 and are compactly packaged in a single case.

The Dead Zone (1983): A Stephen King adaptation that is directed by David Cronenberg and also stars Christopher Walken? How had I never seen this film before? Walken stars in The Dead Zone as John Smith, a man who ends up in a coma, and wakes up to discover that he has the ability to see future events.

Shot in Ontario, The Dead Zone also marked a turning point in Cronenberg’s career, serving as the Canadian director’s first mainstream film. It was incidentally released the same year as Videodrome. Despite a few pacing challenges at times, this is a solid King adaptation that builds up to something that is satisfying overall, turning into a tense political thriller in the last act. This is notably also the first time that the film is being released on Blu-ray, which alone will make this set worth it for a lot of fans.

The disc includes no bonus features.

The Dead Zone is 103 minutes and rated 14A.

Silver Bullet (1985): Based on King’s 1983 novella Cycle of the Werewolf, and featuring a screenplay that the author wrote himself, Silver Bullet centres around Marty Coslaw (Corey Haim), a paraplegic boy who ends up having to defend his small town from a werewolf, with help from his alcoholic uncle (Gary Busey). While Silver Bullet is not the best King adaptation, it’s also a somewhat underrated one. Sure, the film is pretty cheesy at times and the special effects are somewhat dated, but it’s still a thoroughly enjoyable ’80s creature feature, that is now rightfully seen as a bit of a cult classic. I had admittedly never seen it before, but had a lot of fun watching it for the first time through this set.

The disc includes no bonus features.

Silver Bullet is 94 minutes and rated 18A.

Pet Sematary (1989): The first of the two adaptations of King’s 1983 novel that are included in this set, director Mary Lambert’s original film version of Pet Sematary, for which King himself wrote the screenplay, also remains the superior of the two. It’s an entertaining and at times genuinely unsettling ’80s horror movie, that touches on themes of parental grief and how a family deals with death. Oh, and that ankle slice still makes me cringe. For my full thoughts on the film itself, you can read my review of the 30th anniversary edition that came out last year right here.

The disc here is identical to the 30th anniversary one, and also includes a commentary track featuring Lambert, a selection of two newer featurettes (Pet Sematary: Fear and RemembrancePet Sematary: Revisitation) and three older ones (Stephen King Territory, The Characters, Filming the Horror), as well as a trio of photo galleries with an intro by Lambert.

Pet Sematary (1989) is 102 minutes and rated 18A.

Stephen King’s The Stand (1994): This one isn’t a film, but rather the 1994 miniseries adaptation of King’s mammoth 1978 bestseller, which details the fallout from a deadly plague across an epic six hour running time. With an all-star cast, and a screenplay that was written by King himself, it’s a decent and largely entertaining adaptation, and all four episodes of the series are included on one disc in this set. For my full thoughts on the miniseries, you can read my review of the standalone 25th anniversary edition that came out last year right here.

The disc here is identical to the 25th anniversary one, and also includes a commentary track featuring King and director Mick Garris, as well as a short archival “making of” featurette.

Stephen King’s The Stand is 359 minutes and rated 14A.

Pet Sematary (2019): Both a remake of Lambert’s earlier film and a new adaptation of King’s book, this 2019 version of Pet Sematary is directed by Kevin Kölsch and Dennis Widmyer, and stars Jason Clarke and John Lithgow. The plot stays mostly faithful to the original, save for one major twist. It overall serves as an adequate adaptation that is hardly definitive but gets the job done, and is enjoyable enough to watch if you are looking for something slightly creepy late at night. I reviewed the film when it came out last year, and you can read my full thoughts on it right here.

The disc here is identical to the standalone edition put out last year, and also includes an alternate ending, a selection of seven deleted and extended scenes, and the hour-long production documentary Beyond the Deadfall, which is divided into four chapters. Finally, the disc includes a trio of atmospheric sequences (Night Terrors), and a short bonus scene (The Tale of Timmy Baterman).

Pet Sematary (2019) is 100 minutes and rated 14A.

The Stephen King 5-Movie Collection is a Paramount Home Entertainment release.

Street Date: September 15th, 2020

#TIFF20 Review: David Byrne’s American Utopia (Gala Presentations)

September 20, 2020

By John Corrado

★★★½ (out of 4)

Directed by Spike Lee, David Byrne’s American Utopia is a film version of the Broadway show that the former frontman for the band Talking Heads staged in 2019 at the Hudson Theatre in New York. It was the opening night film at TIFF eleven days ago, and watching it now, I can see why.

Comprised of classic hits from Byrne’s time with the band and songs from his solo career, including his 2018 album American Utopia, Lee captures the live show on film with incredible verve. The result is an exhilarating concert movie that has been brilliantly filmed by cinematographer Ellen Kuras. Byrne was already captured on film with the Talking Heads in Jonathan Demme’s classic 1984 concert film Stop Making Sense, and this feels like a companion piece to that film.

As a film experience, David Byrne’s American Utopia captures the energy of the live show, and it feels like a celebration. Performing in front of an engaged audience of mostly boomers, who can be seen dancing along, Byrne is joined on stage by an enthusiastic ensemble of eleven people from around the world. The cameras often swirl around with the performers, who double as musicians and backup dancers, making us feel as if we are on stage with them.

There is a thrilling moment when Byrne introduces the band members one by one, building the arrangement for a song in real time, and laying to rest the rumours that they weren’t actually playing live on stage. Byrne’s idiosyncrasies as a performer are on full display, including his marionette-like dance moves. In between songs, the singer regales us with monologues about neural connections and making sense of the world, giving way to the show’s deeper themes about how we are all connected.

Themes of racial justice in America are woven in as well, including a stirring cover of Janelle Monáe’s protest anthem “Hell You Talmbout,” listing the names of African-Americans who have been killed by police. In moments like these, we realize what drew Lee to this material. As a rhythmic celebration of music and movement, David Byrne’s American Utopia is a thrilling concert film that will make you want to dance along.

Public Screenings:

Thursday, September 10th – 8:00 PM at Visa Skyline Drive-In at CityView

Thursday, September 10th – 9:00 PM at West Island Open Air Cinema at Ontario Place

Thursday, September 10th – 9:15 PM at RBC Lakeside Drive-In at Ontario Place

Wednesday, September 16th – 6:00 PM at Bell Digital Cinema (Online for 24 Hours)

#TIFF20 Review: The Water Man (Special Events)

September 20, 2020

By John Corrado

★★★½ (out of 4)

Making his feature directorial debut, actor David Oyelowo crafts a wonderful and nostalgic throwback to the classic kids adventure films of the 1980s with The Water Man, which I’m pleased to say is one of the nicest surprises of this year’s festival.

The film’s protagonist is Gunner Boon (Lonnie Chavis), a bright, imaginative kid who loves reading Sherlock Holmes stories and hanging out in a used bookshop, providing inspiration for the graphic novel he is working on. Gunner has just moved to the small town of Pine Mills with his father (Oyelowo) and mother (Rosario Dawson), who has leukemia.

When his mother’s condition worsens and she becomes terminally ill, Gunner’s imagination is lit up by stories of the Water Man, a local legend in town about a miner who was able to cheat death and now has magical healing powers. As the story goes, the Water Man still haunts the forest in search of his dead wife. Joined by a local girl named Jo (Amiah Miller), who claims to have encountered the Water Man, Gunner runs away and sets out on an adventure through the woods in search of the mysterious figure, in hopes that he will be able to cure his ailing mother.

Sharing its DNA with The Goonies and Stand By Me, The Water Man serves as a loving tribute to these beloved ’80s adventure films, (Gunner even has an E.T. lunchbox on his desk), and Oyelowo nails this tone perfectly. Working from a nicely written screenplay by Emma Needell, which appeared on the Black List of unproduced screenplays in 2015, Oyelowo’s film has a magical feel to it, along with just the right amount of spookiness.

The story uses fantasy to sensitively explore very real themes about grief and mortality, in a way that calls to mind the children’s classics Bridge to Terabithia and A Monster Calls, and the touching family bond at the centre of The Water Man is what holds it together. The detective story that Gunner is writing is also cleverly incorporated into the film’s narrative, and his drawings are brought to life through some wonderful bits of animation.

Chavis capably carries the film on his shoulders, supported by touching performances from Dawson and Oyelowo. The cast is rounded out by Alfred Molina in a fun role as a funeral home director, and Maria Bello as a police officer. With a little bit of The Goonies, a little bit of Stand By Me, a little bit of Bridge to Terabithia, and a little bit of A Monster Calls, The Water Man is a heartfelt and immensely enjoyable family film that deserves a wider audience.

Lonnie Chavis, David Oyelowo and Rosario Dawson in The Water Man

Public Screenings:

Saturday, September 19th – 4:00 PM at TIFF Bell Lightbox 1

Saturday, September 19th – 6:00 PM at Bell Digital Cinema (Online for 24 Hours)

Saturday, September 19th – 7:30 PM at Visa Skyline Drive-In at CityView

#TIFF20 Review: Good Joe Bell (Gala Presentations)

September 19, 2020

By John Corrado

★★½ (out of 4)

Based on the true story of a father who started walking across America to raise awareness of bullying in honour of his son, Good Joe Bell is a well-intentioned drama that includes some moving moments, but makes an equal number of questionable and frustrating storytelling choices.

Joe Bell (Mark Wahlberg) is an All-American dad to teenaged son Jadin (Reid Miller), a kid who would rather be a cheerleader than be on the football team. When Jadin comes out as gay, and tells his father about the horrific bullying that he is being forced to endure at school, Joe tacitly accepts him but also treats it as a reason for why his son needs to toughen up and not outwardly reveal his sexuality.

The bullying escalates, leading to a tragic turn of events that prompts Joe to start walking from Oregon to New York, where Jadin has always dreamed of living. The purpose of Joe’s walking trip is supposedly to spread the message that bullying is wrong, which includes giving awkward speeches in front of high schoolers about not picking on those who are different. But Joe’s walk has more to do with assuaging his own sense of guilt than it does with actually helping Jadin, a painful truth that he starts to confront.

The screenplay by Larry McMurty and Diana Ossana, who also wrote the script for Ang Lee’s much better Brokeback Mountain, employs a fractured narrative to tell its story, including the choice to frame the catalyst for the real life events as a twist halfway through. But they don’t quite pull it off, and I’m not entirely sure if this was the right narrative approach. At a scant ninety minutes, Good Joe Bell also feels rushed, and the film would have greatly benefitted from adding a good half-hour to its running time, which would have allowed the characters to be fleshed out even more.

The film serves as the sophomore feature of director Reinaldo Marcus Green, who was at the festival two years ago with his debut Monsters and Men, and perhaps a more seasoned director would have done a stronger jump of navigating the film’s tricky tone. Cary Joji Fukunaga was initially going to direct, but is now credited as a producer on the project instead. It’s also worth noting that there are no less than 22 producing credits on Good Joe Bell, and the film feels like the byproduct of too many influences.

The movie’s target audience seems to be parents who are struggling to accept their gay kids, and yes, this is a market that does need to be reached. But by centring its narrative around Joe, the film is also telling its story from a very narrow and, well, straight, viewpoint. Wahlberg’s character is given the interesting arc of having to reconcile himself with his own shortcomings as a father, including the fact that he didn’t do enough to make his son feel accepted at home, which is something that the film does an alright job of exploring. But a better film would have given Jadin more of an arc as well.

There are scenes here that feel like they are out of a better movie, including a conversation that Joe has in a gay bar, which is the only moment when the character actually interacts with any queer people other than his son. There is also a nicely acted scene involving an understanding sheriff (Gary Sinise) that provides the basis of the film’s fairly affecting climax, and Wahlberg does do a decent job of handling these quieter emotional beats.

Miller delivers the best acting work in the film as Jadin, and his heartbreaking performance is its one standout element. It’s a movie that otherwise somewhat frustratingly doesn’t quite work, and the choice to frame a story about homophobia around a straight protagonist is questionable, to say the least. Still, Good Joe Bell features a handful of moving scenes that cut through the film’s overall superficiality.

Reid Miller and Mark Wahlberg in Good Joe Bell

Public Screenings:

Monday, September 14th – 9:15 PM at TIFF Bell Lightbox 4

Friday, September 18th – 6:00 PM at Bell Digital Cinema (Online for 24 Hours)

Saturday, September 19th – 8:00 PM at TIFF Bell Lightbox 1

#TIFF20 Review: The Truffle Hunters (Special Events)

September 19, 2020

By John Corrado

★★★ (out of 4)

The Alba truffle, which grows in the Piedmont region of Northern Italy, is considered to be one of the world’s rarest and most exclusive food items, and directors Michael Dweck and Gregory Kershaw take us into the unique world of the men who forage for them in their documentary The Truffle Hunters.

These incredibly valuable white truffles only grow in this one part of Europe, and with climate change and deforestation, they are growing increasingly rare. This has only made the work of hunting them even more challenging and competitive. Dweck and Kershaw follow three eccentric older men throughout the film, who employ the help of their beloved dogs to sniff out the truffles, which grow in the dirt near the roots of large trees.

It’s a lucrative business. The truffles go for ridiculously high prices at exclusive auctions, and buyers will pay thousands of euros for the fungi, meeting in alleys at night and speaking in hushed tones not unlike drug dealers, to provide the product to fancy restaurants and foodies. But this obsession with acquiring the luxury food item is not all fun and games, leading to the far more serious and disturbing matter of poison bait being put out by rival truffle hunters to kill the prized dogs of their competitors.

The film mainly unfolds through observant, stationary wide shots, juxtaposing the elite world of truffle auctions with the rustic personal lives of these men, who exist in a region that in many ways has been untouched by time. The film also takes us into the forests with the hunters, even mounting a camera on one of the canines to give us a dog’s eye view of the hunt. It’s a simple, charming documentary portrait, that is at its most captivating when showing the bond between these men and their dogs.

Public Screenings:

Friday, September 18th – 6:00 PM at Bell Digital Cinema (Online for 24 Hours)

#TIFF20 Review: Falling (Special Presentations)

September 18, 2020

By John Corrado

★★★ (out of 4)

The directorial debut of Viggo Mortensen, who also stars in the film in addition to serving as writer, producer and composer on the project, Falling explores the relationship between a middle aged son and his ailing, elderly father, and it’s the sort of rugged, powerful drama that really sneaks up on you.

John (Mortensen) is in the process of trying to help his abrasive father Willis (Lance Henriksen) move to California, and sell off the farm property in New York State where John grew up and Willis has lived for decades. Things are complicated by the fact that Willis is in the early stages of dementia, amplifying his already gruff persona. John is gay and happily married to Eric (Terry Chen), with whom he shares a daughter (Gabby Velis). Willis is stuck in a different era, making constant inappropriate remarks about his son’s sexuality and other politically incorrect comments.

This toxicity has always been a factor of their relationship, which Mortensen reveals through flashbacks to John as a boy (portrayed by Grady McKenzie, Etienne Kellici and William Healy at three separate stages), and Willis as a younger man (played by Sverrir Gudnason). These flashbacks are artfully woven in and out of the main narrative, allowing them to feel like specific memories that keep being triggered.

Mortensen delivers a strong performance in the leading role, while Henriksen delivers memorable supporting work, bravely taking on the thankless task of portraying a character who has spent his entire life pushing others away. The last act of the film has the most impact, pulling back the different layers and putting the supporting character to the side, to really focus on the relationship between John and Willis. At this point, the film becomes an almost unexpectedly powerful study of how we still love and care for people even if they are awful to us.

Like the character of Willis in the film, Falling can be overbearing and is not always pleasant to be around, as it dredges up a lot of unpleasant emotions. But by the end I found myself legitimately moved by it, in a “you don’t know you’ll miss them until they’re gone” sort of way, and I have a feeling I’ll keep thinking about it for quite some time. I think that just might be the entire point of Mortensen’s film.

Public Screenings:

Friday, September 11th – 4:30 PM at TIFF Bell Lightbox 1

Sunday, September 13th – 4:45 PM at TIFF Bell Lightbox 2

Thursday, September 17th – 6:00 PM at Bell Digital Cinema (Online for 24 Hours)

VOD Review: Blackbird

September 18, 2020

By John Corrado

★★★ (out of 4)

Lily (Susan Sarandon) is terminally ill, and wants to get her whole family back together again for one final weekend, before she ends her own life with the assistance of her physician husband Paul (Sam Neill).

Once she is ready to say goodbye, Lily will drink a toxic substance that she bought on the black market, and drift away for good. The major complication is that physician assisted death is illegal in her state, meaning that she needs to trust all of her family members to keep it a secret.

This is the premise behind Blackbird, director Roger Michell’s remake of the 2014 Danish film Silent Heart, which uses the controversial setup as the catalyst for a decent chamber piece that is built around the dynamics of a family airing their grievances with each other over the course of an emotional weekend.

The first of the family members to arrive is Lily’s very “Type A” oldest daughter Jennifer (Kate Winslet), who comes with her mild-mannered husband Michael (Rainn Wilson) and their teenaged son Jonathan (Anson Boon). Then unpredictable younger daughter Anna (Mia Wasikowska) shows up, bringing along her partner Chris (Bex Taylor-Klaus). Lily’s dear friend Liz (Lindsay Duncan) is also invited, having been a steady presence throughout her life.

They all have secrets, and they all have baggage, which will come to the forefront over the course of the weekend. The entire film revolves around this cast of eight characters, and the drama all unfolds within the confines of Lily’s house and on the surrounding property. It’s very much an ensemble piece, and the performances from all eight actors are the biggest reason to see the film.

Sarandon brings a free-spirited quality to her portrayal of Lily, a former hippie who lived through the ’60s and wants to go out on her own terms, and Neill delivers nicely understated work as her supportive husband. Winslet disappears into the role of the very conservative older daughter, while Wasikowska compliments her quite nicely as the wild child younger sibling whose arrival threatens to cause chaos.

If I’m being completely honest, I do have mixed feelings about the subject matter itself. But Blackbird handles the controversial topic of assisted death in a way that feels mostly natural to the story, showing the complex, mixed feelings that members of Lily’s own family have about the choice she is making. It’s elevated by good performances from its cast of actors, who all turn in solid work, and ultimately serves as a fairly engaging and well acted character drama that acknowledges families can be messier and more complicated than we would probably like to admit.

Blackbird is now available for rent and purchase on a variety of digital and VOD platforms. It’s being distributed in Canada by levelFILM.

#TIFF20 Review: 76 Days (TIFF Docs)

September 17, 2020

By John Corrado

★★★ (out of 4)

Credited to directors Hao Wu and Weixi Chen, as well as another filmmaker who remains anonymous, 76 Days is a ripped from the headlines documentary made up entirely of candid footage that was shot in Wuhan, China earlier this year at the height of the COVID-19 pandemic. The film is named for the number of days – spanning from January 23rd to April 8th – that the city of eleven million people, where the virus originated from, was put under strict lockdown by the Chinese government, in a desperate attempt to stop its spread.

The cameras allow us to become silent observers to what is unfolding in the city’s hospitals, following along as frontline staff struggle with overcrowding, and trying to provide enough beds for sick patients who are literally banging on the doors to be let in. In the haunting opening scene, a woman, dressed head to toe in personal protective equipment, breaks down and cries in the hospital as she is told that she can’t see her dying father one last time. The nurses provide comfort in the midst of restraining her.

We watch as doctors and nurses rush in and out of emergency rooms, tending to and trying to calm the nerves of sick patients. A few of the same subjects keep appearing throughout the film. We follow an elderly grandfather who is confused and keeps trying to leave the hospital, despite not being able to, as well as a pregnant woman who tests positive and must have her baby delivered via C-section. Through this, the film is able to draw upon a motif of death and new life.

This is obviously a tough film to watch, and many scenes are upsetting and anxiety-inducing, but it is also strikingly photographed, and features some incredible cinematography. It unfolds with a sense of immediacy that is unique to the current moment, while also holding great value as a historical document of the COVID-19 pandemic from the frontlines. At its best, 76 Days serves as a powerful and incredibly raw portrait of what the world has been faced with in 2020.

I must also point out the bitter sense of irony to the fact that 76 Days is the only physical screening that I have been able to attend during this year’s TIFF, with the festival having been stripped down and mostly digitized due to the pandemic. I mention this because the experience of seeing the film today at TIFF Bell Lightbox, where seats have been reserved to keep patrons at a safe distance from each other and masks are required while watching the film – offering a constant reminder of the global realities of this pandemic – felt quite surreal.

Public Screenings:

Monday, September 14th – 5:00 PM at TIFF Bell Lightbox 1

Monday, September 14th – 5:15 PM at TIFF Bell Lightbox 4

Tuesday, September 15th – 6:00 PM at Bell Digital Cinema (Online for 24 Hours)

Thursday, September 17th – 4:30 PM at TIFF Bell Lightbox 1

#TIFF20 Review: Pieces of a Woman (Gala Presentations)

September 17, 2020

By John Corrado

★★★½ (out of 4)

The English-language debut of Hungarian director Kornél Mundruzcó, Pieces of a Woman is a very emotional drama that is built around a striking performance by Vanessa Kirby as a woman forging her own path through grief, which just won her the Best Actress prize at the Venice Film Festival.

Martha (Kirby) lives in Boston with her construction worker partner Sean (Shia LaBeouf), and they are expecting their first child together. But when a tragedy strikes, the young couple are left reeling, and Martha must deal with the expectations of both Sean and her mother (Ellen Burstyn) around how she is supposed to recover from the devastation.

The film opens with its most stunning sequence; an unbroken, single-take birthing scene that goes on for over twenty minutes, following along in excruciating detail as Martha goes into a complicated labour. It’s one of the most gripping, anxiety-inducing sequences of the year, and it’s masterfully pulled off by the cast and crew, in an incredible testament to Mundruzcó’s direction, cinematographer Benjamin Loeb’s intimate camerawork, and the performances of the two leads. Throughout this sequence alone, Kirby delivers some of the best screen acting we will see this year, making her Venice win understandable.

From here, the film moves forward episodically, as Kata Wéber’s perceptive screenplay details the fallout from an unthinkable tragedy that befalls the expectant parents. I did find that this narrative structure leaves a little too much out at times, with a lot of gaps and jumps ahead, and I was left wanting a bit more in terms of the story. But Pieces of a Woman is kept grounded by its exceptional performances, and in its best scenes, the film reaches powerful emotional truths.

For his part, LaBeouf delivers an impressively naturalistic turn, and Burstyn is given one standout scene partway through the film. It’s a drama that is stripped bare and is emotionally exhausting to watch, but also greatly rewarding thanks to the brilliance of its performances.

Shia LaBeouf and Vanessa Kirby in Pieces of a Woman

Public Screenings:

Saturday, September 12th – 12:00 PM at TIFF Bell Lightbox 1

Wednesday, September 16th – 6:00 PM at Bell Digital Cinema (Online for 24 Hours)

Wednesday, September 16th – 9:00 PM at Visa Skyline Drive-In at CityView

Friday, September 18th – 9:00 PM at TIFF Bell Lightbox 1

#TIFF20 Review: New Order (Contemporary World Cinema)

September 17, 2020

By John Corrado

★★½ (out of 4)

Welcome to New Order, the latest film from Mexican director Michel Franco that brutally shows a dystopic nightmare unfolding in Mexico City. The action starts at the wedding of Marianne (Naian Gonzaléz Norvind), an upperclass woman in a rich neighbourhood who is trying to get married as the streets around her devolve into chaos brought on by a violent, populist uprising.

But the celebration gets interrupted by a former employee, Rolando (Eligio Meléndez), who used to work for Marianne’s family, and has come seeking their help, needing money to pay for his wife’s emergency heart surgery. The family brushes him off, so Marianne takes it upon herself to leave her own wedding and drive his wife to the hospital, sending her right into the heart of the protests that have taken over the streets and are paving the way for a military takeover.

The film is at its strongest during the first half of its quick 86 minute running time, giving way to a shocking home invasion sequence. After that, New Order loses some of its initial focus and starts to lack satisfying character development. The film is purposely ambiguous, but this is also sort of its downfall, making it hard to discern what exactly it is trying to say beyond offering a series of nightmarish scenes. It’s an allegorical tale about how quickly a populist uprising could lead to a military takeover, yes, but we also aren’t given quite enough for it to leave more of an impact beyond the surface thrills.

This makes the film feel sort of empty in a way that other works about class disparity, like last year’s Parasite, did not. Franco’s choice to turn the privileged, white Marianne into the de facto protagonist, instead of her family’s Indigenous Mexican servants and housekeepers who become part of the uprising, is also somewhat questionable. But the surface thrills of New Order can’t be discounted, and Franco has still crafted a purposely provocative work that is mainly meant to evoke strong, visceral reactions in viewers with its upsetting imagery.

The film is well made on a technical level, with images of riots and their ruinous aftermath, as well as militarized police taking over the streets, that feel prescient in their similarity to the current moment we are living in. It’s a brutal, deeply cynical film that dares viewers to look away, and I’m not saying that you should, but your mileage will also vary.

Naian Gonzaléz Norvind in New Order

Public Screenings:

Tuesday, September 15th – 9:15 PM at TIFF Bell Lightbox 2

Tuesday, September 15th – 9:30 PM at TIFF Bell Lightbox 4

Wednesday, September 16th – 6:00 PM at Bell Digital Cinema (Online for 24 Hours)

Wednesday, September 16th – 9:15 PM at TIFF Bell Lightbox 4

%d bloggers like this: