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Review: Disappearance at Clifton Hill

February 28, 2020

By John Corrado

★★★ (out of 4)

Set in Clifton Hill, the tacky, tourist trap area of Niagara Falls that the film is named after, Disappearance at Clifton Hill follows a woman named Abby (Tuppence Middleton), who returns to her hometown of Niagara Falls after her mother dies to help facilitate the sale of their family motel, and becomes obsessed with solving a long-buried mystery.

As a child, Abby witnessed a “one-eyed” boy being beaten and stuffed into the trunk of a car, a memory that has stuck with her for over two decades. With others being reluctant to believe her, including her own sister Laure (Hannah Gross), Abby starts her own investigation, and ends up falling into a dark and twisted web, as she becomes convinced that she has stumbled into a vast conspiracy involving those who run the town.

Following up his haunting debut feature In Her Place, a slow burn dramatic thriller that premiered at TIFF in 2015 and played with a similar if more subdued sense of foreboding, Canadian director Albert Shin delivers a different sort of mystery in Disappearance at Clifton Hill. Shin’s sophomore effort, which had its world premiere at TIFF just last year under the shorter title Clifton Hill, plays as a mix of neo-noir, psychological drama, and conspiracy thriller.

The film is clearly inspired by the work of both David Lynch and David Cronenberg, with Cronenberg himself even having a small but memorable supporting role in the film as a conspiracy theorist podcast host. Because Abby is a compulsive liar and therefore an unreliable narrator, it’s hard to know exactly where the truth lies, which is one of the most interesting and intriguing aspects of Disappearance at Clifton Hill. This is also what makes me curious to watch the film again at some point.

Similar to how last year’s vastly underrated Under the Silver Lake presented the idea of a conspiratorial mystery at the heart of Los Angeles, Disappearance at Clifton Hill compellingly suggests sinister forces at play beneath the shimmering surface of this tourist attraction in Niagara Falls, Ontario. While I’m not sure on first viewing if the story quite all adds up, I really liked the eery, unsettling vibe of the film, and it’s never less than engaging to watch. The cinematography by Catherine Lutes is stylish and has an often noirish feel to it, and the film is complimented by an oddly fitting soundtrack of old country songs.

A version of this review was originally published during the 2019 Toronto International Film Festival.

Disappearance at Clifton Hill is now playing in limited release in theatres across Canada.

Blu-ray Review: Frozen II

February 25, 2020

By John Corrado

Disney’s Frozen II, which is arriving on Blu-ray this week, is a darker, more mature sequel that has aged with fans of the first one, and for my money it’s a follow up that is nearly if not just as good as its predecessor.

This is already one of the highest grossing animated films of all time, with over a billion dollars worldwide, which really isn’t surprising considering how much of a pop culture juggernaut the first film was in 2013. This sequel takes the characters in compelling new directions, backed by gorgeous animation and excellent new songs. For more on the film itself, my full review can be found right here.

The Blu-ray also includes a decent selection of bonus material, starting with a highlight reel of outtakes featuring footage of the actors in the recording studio flubbing their lines alongside clips from the film. This is followed by three featurettes. Did You Know??? presents bits of trivia about the film; The Spirits of Frozen 2 is the longest of the bunch and dives deep into how they animated the different “spirits” in the film – wind, fire, earth and water; and Scoring a Sequel is a short piece that features composer Christophe Beck talking about crafting his score and tying in elements of the original songs by Bobby Lopez and Kristen Anderson-Lopez.

Next up are five deleted scenes (Prologue, Secret Room, Elsa’s Dream, Hard Nokk’s, and A Place of Our Own), which are presented in storyboard form and feature introductions by co-directors Chris Buck and Jennifer Lee explaining why they were cut and how they would have fit into the film. The scenes are interesting to watch, and are complimented by the two deleted songs “Home” and “I Wanna Get This Right,” which also feature similar intros by Buck and Lee.

Finally, the disc has two short animation tests for the character Gale, an invisible wind spirit that presented unique challenges to portray onscreen; the Oscar-nominated song “Into the Unknown” being sung in 29 different languages; and music videos for Panic! At the Disco’s end credits version of “Into the Unknown” and Weezer’s cover of “Lost in the Woods.” The disc also has a song selection feature, allowing viewers to jump right to the film’s musical numbers.

Frozen II is a Walt Disney Studios Home Entertainment release. It’s 103 minutes and rated G.

Street Date: February 25th, 2020

Blu-ray Review: A Beautiful Day in the Neighborhood

February 25, 2020

By John Corrado

There are some casting choices that just make sense, and such is the case with Tom Hanks being cast as children’s television show host Fred Rogers in A Beautiful Day in the Neighbourhood. It’s only fitting to have one beloved American icon portraying another, and Hanks received a Best Supporting Actor Oscar nomination for his role in the film, which arrived on Blu-ray last week.

Told from the perspective of a cynical journalist (Matthew Rhys) being hired to interview Mr. Rogers, the film works because it is not a biopic but rather a moving character drama that gets to the essence of the meaningful impact Rogers was able to have upon so many lives. It’s beautifully directed by Marielle Heller, who cleverly structures it like an episode of Mister Rogers’ Neighborhood. For more on the film itself, my full review can be found right here.

The Blu-ray also includes a commentary track with Heller and director of photography Jody Lee Lipes, followed by eight deleted and extended scenes (Heroes Must Die, You Just Had a Full Interview, Mr. Rogers’ Archives, A Trip to the Hospital, Are You Still Feeling Agitated?, Did You Know About Me?, I Asked You For Two Paragraphs, and Mitzi), which feature some nicely acted moments, as well as a blooper reel that showcases Hanks as Rogers struggling to get the timing of zipping his cardigan just right during the opening song over and over again.

This is followed by a trio of featurettes. Tom Hanks as Fred Rogers offers an in-depth look at his portrayal, and the choice not to use any prosthetics aside from a subtle wig and fake eyebrows; The People Who Make a Neighborhood: The Making Of offers an illuminating overview of the production, including shooting in the real WQED studios; and lastly Dreaming Big, Building Small: The Puppets & Miniatures provides a fascinating look at how the production team painstakingly recreated the classic sets and puppets from the Neighborhood of Make-Believe for the film.

Finally, the disc includes a short piece entitled Daniel Tiger Explains: Practice Makes Perfect, which expands upon the footage from the blooper reel to offer a lesson in how even grown ups make mistakes sometimes. The package also comes with a regular DVD of the film.

A Beautiful Day in the Neighborhood is a Sony Pictures Home Entertainment release. It’s 109 minutes and rated PG.

Street Date: February 18th, 2020

Blu-ray Review: Jojo Rabbit

February 25, 2020

By John Corrado

Taika Waititi’s Jojo Rabbit, which recently won him the Oscar for Best Adapted Screenplay, is certainly one of the more unique films to be released last year. The film, which is now available on Blu-ray as of last week, is a World War II satire about a member of the Hitler Youth, Jojo (Roman Griffin Davis), who has his bigoted views challenged by a Jewish girl (Thomasin McKenzie) that his mother (Scarlett Johansson) is hiding in their attic.

I first saw Jojo Rabbit at TIFF, where it won the People’s Choice Award, and I generally liked the film, but have also developed some mixed feelings on it, including Waititi’s overly goofy portrayal of an imaginary Hitler, the more that I’ve thought about it since. I do think there are some issues with the tone of the piece, but this is still an entertaining and at times moving film that features solid performances and walks a tricky tightrope to offer a good message about overcoming hate. For more on the film itself, my full review can be found right here.

The Blu-ray also includes a selection of bonus features, starting with three deleted scenes (Imaginary Göring, Little Piggies, and Adolf Dies Again), which mainly feature Waititi riffing and go on a bit too long, as well as some outtakes. Next up is the featurette Inside Jojo Rabbit, a very strong half-hour piece that offers an overview of the film’s story, characters and cast members and is done in a quirky, artsy style that matches the film itself. This is followed by an audio commentary track by Waititi, as well as a teaser and trailer for the film.

Jojo Rabbit is a 20th Century Fox Home Entertainment release. It’s 108 minutes and rated PG.

Street Date: February 18th, 2020

Blu-ray Review: Ford v Ferrari

February 25, 2020

By John Corrado

Director James Mangold’s racing drama Ford v Ferrari, which arrived on Blu-ray earlier this month, was awarded a pair of Oscars for Best Sound Editing and Best Film Editing, and it was nominated for two more (Best Sound Mixing and Best Picture). This really isn’t surprising, as the film is a superior technical achievement.

Recounting the true story of race car drivers Ken Miles (Christian Bale) and Carroll Shelby (Matt Damon), who teamed up to enter an American car made by Ford in the 1966 Le Mans race in hopes of beating Italian company Ferrari, Ford v Ferrari offers an exciting mix of thrilling cinematography and brilliant sound design. For more on the film itself, my full review can be found right here.

The Blu-ray also includes an hour-long “making of” documentary entitled Bringing the Rivalry to Life, which is divided into eight chapters (Prologue: The Perfect Lap, Directing the Rivalry, The Real Ken Miles, The Real Carroll Shelby, The Real Ford GT40, What Makes a Good Movie Car, Creating an Era, and Epilogue: Brotherhood). As a whole, the piece offers an excellent overview of various aspects of the production, compellingly showing the amount of work that went into it on a technical level, while also shedding some light on the real life figures and cars portrayed in the film. This is followed by two theatrical trailers for the film.

Ford v Ferrari is a 20th Century Fox Home Entertainment release. It’s 152 minutes and rated PG.

Street Date: February 11th, 2020

Review: Ordinary Love

February 21, 2020

By John Corrado

★★★ (out of 4)

Tom (Liam Neeson) and Joan (Lesley Manville) are an older married couple who share a quiet life together in Ireland, and how they both react in the wake of receiving devastating news is documented in the quietly moving drama Ordinary Love.

They go for walks together and watch TV in the evenings, but things change one night when Joan is in the shower and discovers a lump in one of her breasts. At first, the doctors are hopeful that it is only a cyst, but more tests follow just to be sure, and soon give way to a breast cancer diagnosis.

As Joan comes to terms with having cancer, Tom struggles to accept the fact that his wife might be dying, which causes their relationship to evolve. Their only daughter passed away when she was young, and while the circumstances of her death are never explicitly stated, it’s an event that impacts both of their abilities to process death when faced with their own mortality.

The film is directed by the husband and wife team of Lisa Barros D’Sa and Glenn Leyburn, and they are working from a screenplay by Northern Irish playwright Owen McCafferty, who based the story on his own wife’s experiences with breast cancer. I didn’t know this fact before watching Ordinary Love, but I could tell; all of the little details in the film are painstakingly observed in a way that can only really come from personal experience.

Tom and Joan are the primary focus, but the film also makes space for an equally moving subplot involving an older man named Peter (David Wilmot), whom Joan recognizes in the cancer ward. Peter used to teach Tom and Joan’s daughter in primary school, and he is dying of terminal cancer, which his partner Steve (Amit Shah) is struggling to cope with. A touching friendship forms between Joan and Peter as they both undergo chemotherapy, and there is an incredibly moving moment shared between Tom and Steve near the end of the film.

Neeson and Manville both deliver quietly devastating and completely believable performances, and it’s the very ordinariness of Ordinary Love that is precisely what makes it so moving. Tom and Joan bicker and fight like any old married couple would, their arguments giving way to how much they intensely care about each other, and we come to care about them, too. This is ultimately a film about the importance of time, and about the importance of spending quiet and, yes, ordinary moments with the ones you love.

Ordinary Love is now playing in limited release at the Scotiabank Theatre in Toronto.

Review: The Call of the Wild

February 20, 2020

By John Corrado

★★★ (out of 4)

Jack London’s classic 1903 novel The Call of the Wild has already been adapted for the screen multiple times over the past century, starting with a silent film version in 1923. This was followed by a 1935 adaptation starring Clark Gable and Loretta Young, which deviated greatly from the source material, as well as a 1972 version starring Charlton Heston, and the 1996 film The Call of the Wild: Dog of the Yukon starring Rutger Haur.

Now we have a new adaptation coming to us from Chris Sanders, who previously co-directed Lilo & Stitch for Disney and How to Train Your Dragon at DreamWorks, both films that have some thematic similarities with this one. The film was in production at 20th Century Fox prior to the Disney merger, and it’s being put out by them now through their newly rebranded 20th Century Studios subsidiary.

All of this is fitting because The Call of the Wild actually feels like a classic Disney production through and through, and it fits in quite nicely with their existing library of films. Right off the top, I should note that London’s original novel is one of my favourite books, which makes me somewhat biased in that no adaptation was likely ever going to entirely live up to it for me. But Sanders has done a decent job of shepherding the story to the screen once again, delivering an imperfect but enjoyable film that works as both a toned down but still mostly faithful adaptation and an appropriately grand big screen adventure.

Set in the 1890s, the story itself remains mostly the same, with a few expected changes. The main character is Buck, a large, rambunctious dog who is the family pet of Judge Miller (Bradley Whitford) and his wife (Jean Louisa Kelly) at their home in California. Buck enjoys the comforts of domesticity, but is also somewhat restless, and much too energetic to be kept cooped up in a house. When Buck is stolen and sold as a working dog during the Klondike Gold Rush, he ends up in the Yukon, and is put to work as a sled dog for a French-Canadian man named Perrault (Omar Sy), who delivers mail for the Canadian government, and his partner Françoise (Cara Gee), who in this version is a woman.

It’s on Perrault’s team that Buck starts to gain his strength and tap into his wild instincts, quickly climbing the ranks in the pack. Buck then gets sold to a rich, jealous prospector named Hal (Dan Stevens), who is setting out with his sister Mercedes (Karen Gillan) and her husband Charles (Colin Woodell) in search of gold. Along the way, Buck also keeps encountering a grizzled older man named John Thornton (Harrison Ford), who is heading out north to escape a family tragedy, and drinks to forget the pain. Buck and John bond throughout their respective journeys, finding ways to save each other. The friendship between them defines the second half of the story, and their scenes together are among the best in the film.

Ford’s character also serves as the film’s narrator, giving voice to Buck’s inner thoughts in a way that feels natural and stays true to how the dog’s thought process was presented in the book. It’s a clever narrative choice on the part of screenwriter Michael Green, whose previous writing credits include Logan and Blade Runner 2049, in that it allows the film to give voice to Buck without having the dog actually talk, which would have cheapened the integrity of London’s novel. Ford is excellent as John Thornton, a man whose growling intensity hides a sensitive underside. It’s a role that fits him like a glove, and he delivers some of his finest onscreen work in quite some time.

Buck himself is an entirely computer generated creation, and while the choice to use a CGI dog is commendable in terms of animal welfare so that a real animal wasn’t put in harm’s way during the story’s moments of danger, the animation itself isn’t quite there yet. Buck is a bit too anthropomorphic at times, and can fall into uncanny valley territory. Because we are so used to what a dog looks like, it’s somewhat harder to adjust to seeing an animated version of one interacting with real people in a live action world, as opposed to say the animated lions in The Lion King.

The “call” of London’s novel refers to the primal, animal instincts that exist within even the most domesticated of creatures, allowing them to return to their wild roots when removed from their domestic environments. The enduring brilliance of the book lies in the way that it explores how, under the right circumstances, a dog can learn to channel the spirits of his ancestor – the mighty wolf – in order to survive, something that is portrayed quite nicely in the film through a large black wolf spirit which often appears to Buck as an apparition to help guide him.

London’s novel also explores the natural hierarchies that form between canines. As Buck learns to fulfill his natural instincts to become pack leader, this leads to a rivalry between Buck and Perrault’s top sled dog Spitz, a husky who has never been challenged on his alpha position at the front of the pack. Their rivalry plays a role in the film, but it has been watered down slightly. While the film doesn’t entirely shy away from the darker elements of London’s novel, it also feels a bit tame and toothless at times, and the climax has been changed considerably to be both less violent and more culturally sensitive. This film version completely removes the “Yeehat Indians” from the story, albeit understandably, with the scenery-chewing Stevens instead serving as the main villain.

I do wish that the film had been a bit darker at times. But as I mentioned earlier, it would have been very hard for any film to truly live up to London’s timeless novel, and there is still plenty to enjoy about this version of The Call of the Wild, even if it doesn’t quite match the stature of the original book. Bolstered by some beautiful images that are captured in full widescreen splendour by cinematographer Janusz Kaminski, and a particularly strong performance from Harrison Ford, this is a good old fashioned adventure movie that is satisfying and at times emotionally resonant to watch.

The Call of the Wild is now playing in theatres across Canada.

Blu-ray Review: The Twilight Zone (2019): Season One

February 19, 2020

By John Corrado

Hosted by comedian turned new horror master Jordan Peele, The Twilight Zone is a CBS All Access Original Series that serves as a reimagining of Rod Serling’s original 1959 sci-fi and fantasy show, updating the storytelling for more modern sensibilities and anxieties.

Season One is made up of ten episodes, all of which feature introductions by Peele, who serves as our narrator and also executive produced the series with Simon Kinberg. The first episode, The Comedian, is also one of the best, starring Kumail Nanjiani as a struggling standup comic discovering that he has the power to make people disappear through his act. Nanjiani received an Emmy nomination for the role.

Adam Scott stars in the second episode, Nightmare at 30,000 Feet, which is directly inspired by the classic William Shatner episode Nightmare at 20,000 Feet. Only in this version there is no gremlin on the wing of the plane, and a foreshadowing podcast causes Scott’s character, a renowned journalist, to go crazy instead. It’s a fairly entertaining twist on the original, and Scott carries the episode with a strong dramatic performance.

Next up is the third episode, Replay, which plays off the anxiety of police shootings to develop suspense as an African-American mother (Sanaa Lathan) discovers that her father’s old camcorder has the ability to turn back time, and tries desperately to use it to protect her young adult son (Damson Idris) from a racist officer (Glenn Fleshler). It’s a tense and well acted episode, using the time travel premise in a clever and ultimately heartbreaking way to explore the seeming inevitability of violence.

The fourth episode, A Traveller, is directed by Ana Lily Amirpour, one of the show’s guest directors, and is set at a remote police station in Alaska where a mysterious visitor (Steven Yuen) endears himself to the police captain (Greg Kinnear) in hopes of getting pardoned on Christmas Eve. It’s the best episode overall, with Amirpour handling both the storytelling and tone of the piece very well, building up a really great sense of atmosphere that I enjoyed quite a lot.

The fifth episode, The Wunderkind, takes on a more comedic and satirical tone, and features John Cho as a failed campaign manager who becomes obsessed with getting a young viral star (Jacob Tremblay) elected president of the United States. The sixth episode, Six Degrees of Freedom, is set on the first manned mission to Mars, and really leans into the science fiction elements in a way that makes it feel like somewhat of an outlier. The episode often feels overly ambitious given the constraints of the format, and bites off a bit more than it can chew.

The seventh episode, Not All Men, boasts a solid performance from Taissa Farmiga as a young woman who starts to observe the men in her town going crazy following a meteor shower, but the whole thing feels somewhat on the nose. The eighth episode, Point of Origin, serves as a not so subtle allegory for immigration that arguably goes on longer than it needs to, following a suburban housewife (Ginnifer Goodwin) struggling with the concept of where “home” really is.

The season ends strong with the final two episodes. The ninth episode, The Blue Scorpion, stars Chris O’Dowd as an anthropology professor whose life becomes overtaken by his late father’s suicide weapon, an antique pistol with a blue scorpion on its handle. It’s an engaging episode, and O’Dowd is strong in the leading role. The tenth and final episode, Blurryman, is probably the cleverest one of the set, as it employs a meta storytelling structure to focus on a writer (Zazie Beetz) being chased by a shadowy, mysterious figure. It’s a lot of fun, and does a fine job of paying tribute to the original series.

While some of the episodes are better than others, and the social messaging can feel heavy-handed at times in a way that threatens to overshadow the stories themselves, Peele’s 2019 version of The Twilight Zone is still a consistently entertaining series that boasts solid production values and good performances across the ten largely unconnected episodes, which are carried by all-star casts. It’s not as good as the original, but the series starts and ends strong, even if it does start to lag a bit partway through. While there are admittedly a few weaker episodes here, there are also plenty of stronger ones and, with each one under an hour, this an enjoyable series overall that lends itself well to binge-watching.

The 5-disc Blu-ray set comes with a good selection of bonus features, including an episodic promo and featurette (“Opening the Door To…”) to accompany each of the ten episodes, deleted or extended scenes for six of them (The Comedian, Nightmare at 30,000 Feet, Replay, The Wunderkind, Six Degrees of Freedom and The Blue Scorpion), and audio commentary tracks on three (Replay, Not All Men and Blurryman). The full music video from The Wunderkind is also included to accompany the episode.

Additionally, the first disc includes a promo for season one and the featurette Remembering Rod Serling, and the third disc includes a gag reel, the featurette Easter Eggs Revealed, and the two part making of documentary Crossing Over: Living in The Twilight Zone (Part One – A Dimension of Mind: Development and Part Two – A Dimension of Sight and Sound: Production). The final two discs in the set include special black and white versions of all ten episodes, which is a nice addition to the set.

The Twilight Zone (2019): Season One is a Paramount Home Media Distribution release. The whole set is approximately 14 hours, 35 minutes and rated 14A.

Street Date: February 18th, 2020

Blu-ray Review: 21 Bridges

February 18, 2020

By John Corrado

★★½ (out of 4)

Andre Davis (Chadwick Boseman) is an NYPD detective who has a complicated history with the force. His father was killed in the line of duty when he was a boy, and his high kill count has gained him the nickname “trigger” and earned him the reputation of being a fearless officer who is unafraid of using his gun.

When a cocaine heist at a high end restaurant being carried out by two gang members, Ray (Taylor Kitsch) and Michael (Stephan James), leads to a police raid, a vicious gun battle ensues that ends with eight dead officers, plunging the city of New York into turmoil.

On the orders of Captain McKenna (J.K. Simmons), Andre is paired up with narcotics officer Frankie Burns (Sienna Miller), to track and take down the cop killers by any means necessary. With Ray and Michael on the run, the NYPD orders all 21 bridges leading on and off the island of Manhattan to be shut down for the night until they can catch the killers, sending Andre on a complicated manhunt that leads him to question the true motives of all involved.

Produced by Anthony and Joe Russo, fresh off of their massive successes in the Marvel Cinematic Universe including Avengers: Endgame, and starring Black Panther himself, Chadwick Boseman, who also serves as a producer, there is a lot of star power behind 21 Bridges that elevates it somewhat above the level of a standard B-movie police procedural. The film is directed Brian Kirk, who is mostly successful in making the leap from TV to movies after cutting his teeth helming several episodes of Game of Thrones and other shows, and he keeps things moving at a swift pace.

The plot is somewhat derivative and predictable, and the story itself doesn’t exactly break new ground, but the script by Adam Mervis and Matthew Michael Carnahan does feature some interesting character motivations. The racial tensions at play are subtly observed, heightened by the diverse casting, and the film is kept watchable thanks to a fine cast and some well done action sequences. Overall, 21 Bridges is a fairly decent crime thriller that is carried by a solid performance from Boseman, who does a good job of flexing his muscles outside of the franchise that he is now famous for.

The Blu-ray also includes an audio commentary track, a short highlight reel of behind the scenes footage most of which plays without sound, a brief selection of deleted scenes, and soundbites featuring the five cast members Boseman, Miller, Simmons, Kitsch and James talking about the film and their characters.

21 Bridges is a VVS Films release. It’s 100 minutes and rated 14A.

Street Date: February 18th, 2020

ONWARD (and a bit backwards): The Pixar Vehicle Experience at the 2020 Canadian International AutoShow

February 14, 2020

By John Corrado

Walt Disney Studios Canada is bringing ONWARD (and a bit backwards): The Pixar Vehicle Experience to the 2020 Canadian International AutoShow, which is running from February 14th to 23rd at Metro Toronto Convention Centre in Toronto. The exhibit brings together vehicles from three Pixar films; the already iconic Lightning McQueen from the Cars trilogy and Duke Caboom’s motorcycle from Toy Story 4, as well as the soon-to-be-iconic van Guinevere from their upcoming film Onward, which provides the centrepiece of the exhibit.

Coming to theatres on March 5th, Onward is set in a suburban fantasy world and follows two elf brothers, Ian (Tom Holland) and Barley Lightfoot (Chris Pratt), who get a chance to bring their father back to life for one more day using magic. But there is a mishap with the spell and only his legs appear, sending them on a quest to bring the rest of him back before time runs out. The van, which is adorned with crescent moons and unicorns and is lovingly referred to as Guinevere, is Barley’s prized possession, and it has been recreated incredibly well here with this operational, life-size replica.

When you look at it up close, and you will get a chance to if you come to the AutoShow, the detail on it is exceptional, right down to the stickers on the back, pieces of duct tape holding parts of it together, and even splashes of mud on the sides and some rust around the edges. The van is complimented by cutouts of Ian and Barley along with their dad’s legs, which provide great photo ops. Also fun to take pictures with is the larger than life standee of Canada’s favourite stuntman Duke Caboom standing guard over his red and white motorcycle, and the life-size Lightning McQueen, who has been brought around to other events and is always fun to see.

I had a lot of fun checking out ONWARD (and a bit backwards): The Pixar Vehicle Experience during the media preview yesterday, and I have included a selection of photos from the exhibit below. More info and tickets to the Canadian International AutoShow can be found on their website right here.

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