Reviews of the Bosch

In pitching her book about Alanis Morrissette’s Jagged Little Pill , Grace Pine (Barbie Ferreira) is asked by her publisher why she is the person to write it -what insight does she specifically have, and what can she distinctly bring to the subject? Presumably the album means a lot to her -Grace says as much when she first brings up the idea. So she should share how it has impacted and informed her life as evidence of its lasting legacy. Grace takes this all in …and then it never manifests anywhere afterwards. It might as well be any album she is writing about. Director Chandler Levack apparently based a lot of this movie, Mile End Kicks , on her own personal experiences -so perhaps on this note she didn’t actually learn much from it. Maybe that is harsh, the Morrissette piece is not the vital part of the story -it is the catalyst. But it is an awfully specific one, and is given an undue degree of attention through a handful of sequences of the movie -and yet Grace’s relationship to it...

Jane Austen and Mark Twain both left their final novels unfinished. Orson Welles didn’t live to see the completion of his swansong . Bach and Beethoven and dozens of classical composers began works they never lived to see to fruition. Painters like Benjamin West and J.M.W. Turner left behind work they were only in the middle of. And ironically enough, Robert William Buss as well -a grand portrait of the figure and stories of Charles Dickens, who likewise penned a final mystery unsolved. Incomplete masterpieces are common among great artists -who die, get waylaid, or lose inspiration. And yet the value in these works is tremendous. The notion of actually finishing them a daunting one. Should someone else dare to make that attempt? Can they? That question is of tremendous importance in The Christophers , the latest movie from Steven Soderbergh, written by Ed Solomon; and one that does feel uniquely personal to both -even as it comes at a time where Soderbergh seems strangely detached fro...

It should be stated clear upfront, You, Me & Tuscany  is one of those romantic-comedies made purely to showcase hot people falling in love against a gorgeous scenic backdrop. The last movie of that variety I saw, Anyone But You , interspersed it with a loose Shakespeare adaptation, but that itself played perfectly into the standard rom-com enemies-to-lovers trope. You, Me & Tuscany , directed by Kat Coiro, doesn’t have a classic literary element to it, but engages in the tried and true fantasy of the young woman travelling to an exotic locale where she is swept off her feet by a handsome stranger. There’s nothing wrong with that premise as a generic starting block, the bones to something more. But this is a movie that doesn’t really have much more despite its efforts to carve something of a unique situation into it. Halle Bailey stars as Anna, a cook turned house-sitter in New York who meets an Italian man called Matteo (Lorenzo de Moor) in a bar one night after losing...

Now that is how you make a good video game movie! With a bad Mario  film in theatres yet again, exemplifying loyalty to aesthetics of the video game medium without its actual effects, the question is once more raised of how one makes a ‘good’ video game movie that captures a semblance of the gaming experience. That interactivity, that tension of investment, solving problems and puzzles -how do you relate that to a cinematic medium? Well, even if Nintendo does not appear to be interested in that question, it is still from Japan that such innovation comes. Exit 8 , directed by Genki Kawamura, is based on the indie game of the same name -something that is not entirely apparent at first for those unaware. The game is fairly un-cinematic in design -it is more about puzzles and pattern recognition; but Kawamura finds an interesting way to translate it in a manner that is engaging, that develops a curious story for its ‘player’ character with resonating themes and ideas; and th...

It’s certainly been a minute since anyone in the industry seriously tried to make a stoner comedy. The halcyon days of the Harold and Kumar  series might as well be a hundred years ago and even Seth Rogen tapped out around Pineapple Express  in 2008. Comedies in general have had a tough time gaining a foothold in the last decade and change, why put effort into a type that is intentionally meant to be, for a lack of a better word, stupid. Well, Nick Kocher and Brian McElhaney might be considered experts in stupid, and they come from an interesting background with which to approach this kind of a film. Though they have worked professionally in Hollywood for many years, as working actors and writers on Saturday Night Live , they were molded on the internet. As the sketch comedy duo BriTANicK, they amassed a pretty popular following on YouTube in particular, where there is a slightly different, distinctly deranged sensibility of humour, that you wouldn’t find in something like Dud...

Barely a single choice made in The Super Mario Galaxy Movie  is done in the service of a story, character, or thematic beat. Rather they are entirely designed to set up the next point of fan service. Even the mild pervasive ones, like Mario’s juvenile crush on Princess Peach, Bowser’s desire to reconnect with his son, and Peach’s drive to reunite with her sister Rosalina after many years, all are basically just to culminate in reference moments for the game franchise, with no worthwhile or honest integrity for their own sake. Because those sort of things don’t matter -it’s the flashiness that counts, and the number of game references that can be shoved into a single scene to distract your attention from the vapid material of the film itself. It is at least a little more story-driven than its predecessor , a film that proved the futility of loyal video game movie adaptations by simply recreating the pastiches of several Mario games but of course without the option of interactiv...