David Harris has lived in Montreal his whole life. He thoroughly enjoys discussing most subjects including the arts, technology, and good food. He shows a great appreciation for good stories and dialogue, which suits his passions perfectly: television, movies, and graphic novels. But, deep down, he has to admit that his biggest love will always be with the movies and movie going experience.
Avengers: Endgame is not for just anybody. This movie is for the souls who watched every movie on opening night, and for those who rewatched them again before every major event. Marvel’s Avengers: Endgame is the movie event of the year. It’s a love letter to the diehard fans of the past decade, and it works. It’s the perfect ending to an anthology of wonderful stories.
Expectations are fickle fiends. Especially for movies. It gets even harder when a remake is brought on after a successful first iteration. Oscar-winning visionary director Guillermo Del Toro made two delightfully fun Hellboy movies, starring the charming Ron Perlman. The character didn’t really need a reboot, but the world got one anyway. The new Hellboy (2019), directed by Neil Marshall and starring David Harbour, is not as terrible as everyone says.
Shazam! is the newest entry in the DC Movie Universe. After a series of bad to mediocre movies, DC realized that the biggest criticism they faced was the level of grittiness that caked the sides of their films: coated of broodiness, globbed with self-doubt, and void of smiles and lightheartedness.
Movies based on real events have a difficult task ahead of them: they need to keep the integrity of the event, but still tell a compelling story. If done poorly, it’s either a boring movie, or full of lies. Stockholm, a film by Canadian director, Robert Budreau, tells the story of the Norrmalmstrog robbery; this movie is a complete fictionalized version of the event that took place. Though Ethan Hawke’s performance is captivating, Stockholm is an ultimately flawed movie about relationships, and survival.
The 91st Academy Awards are going live February 24th. This year’s ceremony have gone through a lot, from problems with the host, changes to the categories, and an overall sense of “who cares”. Whatever it may be, it’s the Superbowl of movie awards, and it’s fun to watch if not for the aesthetics of the red carpet, but for the theatrics of it all.
There are some characters out there who are perfect candidates for their own series. They’re developed enough to have more than one layer, and have potential for new threats and ways to grow. Iron Man, Daredevil, and potentially Captain Marvel are great examples. There are others who work better as a supporting character and have difficulty making it on their own. It’s the reason the Hulk won’t have a solo move anytime soon. The Punisher falls in this category, as the first part of his second season can show.
It’s a story as old as the Arthurian legend. A young plucky kid discovers that there’s more to this world than they originally expected. Adventure and duty are thrust upon them, and they make the selfless choice to claim victory with a little help from their friends. The Kid Who Would Be King is director and writer Joe Cornish’s attempt at tackling this genre.
If you’ve seen Deadpool 2, then you will have seen Once Upon a Deadpool. If you haven’t and are curious, read a review of the previous movie here. In essence, it’s the same story. Some scenes are edited to cater the PG-13 audience, which includes cleaner violence, and nicer language.
The Cohen Brothers are at it again. The Academy Award-winning directors and writers once more don the Stetson and spurs, as they saddle onto another cowboy feature with The Ballad of Buster Scruggs.
In a world of lazy remakes and cash grabbing sequels, it’s always refreshing to see the next notch in a franchise end up being unique and enjoyable. And we can gladly say that The Predator is one of those movies.
