Superintelligence is a Ben Falcone film in every aspect. It stars his wonderful wife, Melissa McCarthy and has a very unique concept that doesn’t quite stick. Carol Peters (Melissa McCarthy), a former corporate executive, has her life turned upside down when she is selected for observation by the world’s first super-intelligence – an A.I. that could possibly take over the world.
The premise does sound like something that could work but for an action comedy, the humour was severely lacking. Perhaps the slapstick comedy does not work for me anymore but I have to address the fact that it has been used with heavier set actors for as long as I can remember. It just doesn’t work for me at all but to each their own because comedy is personal. It just wasn’t funny, you could see the attempts to set up the jokes but they just didn’t land and it was a hard film to sit through because of it.
What was even worse was that they cast James Corden as the voice of the A.I. The film honestly had this obscurity to it that I can’t even explain, it just felt off from the second it started and then it just went on without any substance. It’s upsetting to watch a comedy and not laugh at all and I love Melissa McCarthy. There are moments where it does get better but then it falls apart again. What was the most frustrating was that Bobby Cannavale and Brian Tyree Henry (who have great comedic timing) were wasted in this film.
Superintelligence has a strong premise and a message about technological advancements eventually becoming a dangerous problem in our lives but the execution was lacking. For an action comedy to lack proper form in a joke set up is very telling about the experience you will have while watching this. Again, comedy is personal but this was the first miss for HBO Max.
‘Tis the season to get your onesies out, drink some hot chocolate, and settle around your nearest screen to watch some Christmas movies. Thankfully Clea DuVall made a Christmas romcom that has been long overdue for the LGBTQ community.
Happiest Season is the film that all lesbians have been waiting for. It’s lighthearted, funny and a well rounded romantic comedy. For once there is no sadness, no yearning and no heartbreaking ending. The title of the film says it all and it is such a beautiful movie. Not only does it speak to, and on behalf of, the LGBTQ community but it touches upon family issues that are universal.
The reason why this film is refreshing is because lesbian characters are at the forefront. Two women are in a romantic relationship and they are following all the conventions of a typical romantic comedy. It was just great to see a romantic story about two women in this setting. It is definitely a feel good movie and the speeches in the final act of the film will leave you sobbing until the end. The cast is perfect, everyone fit like a puzzle piece in telling this great story.
Kristen Stewart and Mackenzie Davis were adorable together and their chemistry was great. It felt completely natural and that is the difference. Kristen Stewart was in her element, she was fun, playful and gave a very emotional performance as Abby. Davis gave a complex performance because of the duality of her character Harper. She lived one life with Abby and was another person when she returned home to her parents. What really resonated with me was the idea of perfection and how some families expect so much from their daughters.
I do have to mention the brilliant comedic timing from Dan Levy because it was just effortless. There would be such tense moments and then Levy would just swoop in and make you bust a gut laughing. He was the perfect choice to play Abby’s best friend. Stewart and Levy also bounced off each other, even through serious moments.
Normally, I don’t compare films in my reviews but out of all the lesbian romance dramas we’ve seen, this one definitely felt the most realistic than the others, mind you the other ones were really sad, so maybe that’s the difference? Thanks to Clea DuVall and Mary Holland, they wrote such a great screenplay and brought forth many important conversations.
Happiest Season is a great Christmas rom-com that will hold a special place in your heart and will definitely be added to your annual Holiday watch list. It is a film that explores individuality and acceptance through a lens that the LGBTQ community deserves. Please make sure to watch Happiest Season on Hulu November 25th and it will be available on iTunes November 26th!
The Christmas Chronicles: Part Two is the film that will definitely get you into the Christmas spirit! My favourite Santa Claus (Kurt Russell) is back and this time the story takes us to the North Pole and his workshop… well Mrs. Claus’s (Goldie Hawn) workshop.
It is a very solid sequel that builds upon Kate’s (Darby Camp) story and her relationship with her mother. It’s a very different Christmas for the Pierce’s as they celebrate the holiday on a beach, in Cancun, thanks to Claire’s (Kimberly Williams – Paisley) new beau Bob (Tyrese Gibson). The intention of the vacation was to bring both family units together to bond, as Bob and Claire take their relationship to the next step.
The wonderful thing about this sequel is that it brings the same Christmas magic as the first one and tells a heartfelt story about adapting to a new life, after grieving. It seems dark when explained in that way but the Christmas spirit created a lighthearted atmosphere in order to tell this story. Kate has the Christmas spirit because of her father and it is a beautiful thing to see. Kate is headstrong and wants to celebrate Christmas the normal way, her dad’s way but Bob just came in and decided to change everything.
The idea of moving on, from any situation, is easier said than done but when it comes to grieving a parent, there is no amount of time to even process the pain. Kate has wonderful memories of her father, even the song “O, Christmas Tree” has a special place in her heart and it’s associated to a memory. As Kate processes her possible new life with Bob and a kid brother Jake (Jahzir Bruno), she calls upon jolly old Saint Nick to help her with one final Christmas wish.
The story isn’t only about Kate, there is a parallel with the antagonist of the film named Belsnickel (Julian Dennison), who has an interesting story of his own, involving Santa’s workshop. As the story unfolds Belsnickel and Kate have more in common than they thought, in regards to how to deal with their feelings of neglect. It presented such a great story that young children will definitely understand and allow parents to understand what their child could be going through. It is fun for the whole family with a great lesson to be learned.
The Christmas Chronicles: Part Two improves upon the same heartfelt story and elevates the action sequences from the first instalment. It is a film designed to make you feel warm and cheerful about the upcoming Christmas season, even though things may seem bleak. Kurt Russell and Goldie Hawn bring their charm to the screen to steal everyone’s hearts, as they both embody the true spirit of Christmas. It is lighthearted, very funny and wholesome.
Make sure to catch The Christmas Chronicles: Part Two on Netflix November 25th for a jolly good time with the whole family!
Since 2001 HorrorFest International has brought the Horror community together to celebrate the genre and emerging filmmakers. The festival showcases features, short films and scripts, to live in-person audiences. This year, the film Red Lightwon for Best Midnight Movie at the festival. Director Alex Kahuam is absolutely delighted that his film got the midnight spot during the festival and was overwhelmed by the reception. The film stars the legendary Ted Raimi, as Ian, a man who teaches millennials a thing or two about karma.
The film begins with this quote,
“As a child I never imagined that all of the real monsters in the world would be human”
It sets the tone for the rest of the film because everyone has their own perception of monsters. It is a reflection on humanity and the treatment of others. It also highlights the persona of social media influencers, on and off their screen. Kahuam wrote a great screenplay exploring these ideas and he definitely presents them in a unique way,
“It reflects all people. It’s just a reflection on humanity and how we are monsters in a way and that’s what I wanted. So the audience would get a taste of what the whole picture was going to be. Everyone’s a monster in their own way.
– Director Alex Kahuam, Red Light
Red Light captures the human condition and how everyone fears something different. The most unique aspect about this film is the long takes that Kahuam decided to do. Everything was perfectly orchestrated and the tension was really prominent throughout. These long takes also brought out great performances from his actors, allowing their fear to feel real. Kahuam also used lighting and shadowing to enhance the atmosphere,
“The colour is super loud, violent and visceral and I wanted the audience to feel that at the beginning and at the end.”
– Director Alex Kahuam, Red Light
The placement for these colours for the opening and closing shots, definitely packed a punch and made it memorable.
Not only was this film visually pleasing and so incredibly fun to watch, Ian (Ted Raimi) as a character was intriguing and he left you wanting to know more. The writing for the character was really strong and watching his story unfold was great. Raimi spoke about his character and praised Kahuam for writing him so well. Raimi said that his character and the story reflected something that everyone is currently dealing with,
“We happen to be in the middle of a generational crisis right now, it usually takes place every 50 years. I think Alex has tapped into that quite well and so it was easy to step into.”
– Ted Raimi, Red Light
This is what is interesting about Ian’s character, he genuinely believes that he is paying it forward and restoring order in the universe. Ian kidnaps these teenagers and ties them up in his basement to set them straight, all while answering to a higher power, his own parents. We see three generations in a very different light and how they respond to each other.
The last act in this film has stayed with me because of how powerful the visuals were. The Horror elements were perfect and it is a short film that would work even better as a feature because of how strong the writing is. From the lighting, to the song choices, to the sound design, the film is beautifully crafted and I am looking forward to seeing more from Alex Kahuam.
Saint Frances is a film that highlights the full female experience in the most honest way possible. It wants to show its audience that women at any age can experience hardships, shame and a certain vulnerability that comes with certain subjects. It dives into the stigma around conversations about abortion, postpartum depression, menstruation and breastfeeding. We see a woman in her early 30s, named Bridget (Kelly O’Sullivan) navigate her new job as a nanny. When looking after little Frances (Ramona Edith-Williams), Bridget faces hardships of her own and has to juggle her new life.
What is so wonderful about Saint Frances is that it doesn’t shy away from topics that would be considered “taboo”, it is right in your face and it felt like an open conversation among women. All films have this sense of community but this film felt like having a conversation with your best friends. O’Sullivan definitely made an impact with the story she wanted to tell,
“I felt like I could add something to the landscape of movies that have an abortion in them and sort of treat it with a light touch, a humorous touch, rather than make it really dramatic or traumatic and sort of normalize it.”
Kelly O’Sullivan, Writer and Star of Saint Frances
The women in the film had an interesting dynamic, which brought comfort when listening to their conversations. Films that have these tough conversations in a lighthearted way for a new generation is important,
“I do think it’s becoming more and more accepted and young women, teenagers are way more open and accepting, than people my age or older than me. So it’s really exciting to see that there is a bigger conversation starting to happen around those issues.”
-Kelly O’Sullivan, Writer and Star of Saint Frances
O’Sullivan was inspired by the female voices around her and wanted to make a film that would help the conversation. This new surge of young female voices, expressing their personal thoughts and feelings, allows teenagers to grow up with films that have a positive outlook instead of feeling shame.
The dynamic between Bridget and Frances was so interesting because of how they would speak to each other. Frances was speaking at an adult level, even though she was just starting elementary school. She was incredibly smart, perceptive and open to having conversations about womanhood at such a young age. Newcomer Ramona Edith-Williams was a firecracker and commanded each scene she was in,
“We just met her and she brought so much of herself to the room and so directing her was sort of a big mix of just creating an environment where she felt like she could be herself.”
-Alex Thompson, Director of Saint Frances
Thompson loved working with Ramona Edith-Williams and wanted to develop an increased sort of awareness and closeness with O’Sullivan.
Even though Bridget was in her 30s, the honesty shared between the two of them, made her reevaluate everything. The bond between Frances and Bridget reminded me of the bond I share with my seven-year-old goddaughter. I speak to her like an adult and I’m probably the only one who actually listens to her. The scene where Frances runs out of her classroom calling after Bridget, during her first day of Grade One completely broke me. Frances hoping to be friends with Bridget forever is something that was so pure, that it brought me to tears. What this scene taught me was that even if you feel like you’re a complete mess, you’re somehow doing something right and there is always someone who believes in you.
Saint Frances is a beautiful film because of the honesty in front of and behind the camera. The dialogue surrounding the stigma of abortion, postpartum depression and other female issues was refreshing. Kelly O’Sullivan wrote such a wonderful screenplay, filled with tender, lighthearted and comforting moments. It is a wonderful addition to female stories that can start healthy conversations about these topics.