After a stunning performance in last year’s THE INSPECTION, Gabrielle Union goes a bit lighter on this upcoming Rom-Com. We get a new Trailer for THE PERFECT FIND. Just a woman trying to remain professional but getting all distracted!

Synopsis:

After a high-profile firing, Jenna’s (Gabrielle Union) fashion career comeback hits a snag when she falls for a charming, much younger coworker (Keith Powers) — who happens to be her boss’s son. As sparks fly, Jenna must decide if she’ll risk it all on a secret romance. Based on the book by Tia Williams, The Perfect Find is directed by Numa Perrier and also stars Aisha Hinds, D.B. Woodside, Gina Torres and La La Anthony.

THE PERFECT FIND arrives June 23, 2023 on Netflix.

(Photo/video credit: Netflix)

She’s one of the biggest emerging names right now in Hip-Hop, but don’t be fooled, Coi Leray’s success story has been years of hard work. Rapping since the age of 14, things have taken off quick for Boston-born Leray, a daughter of Rapper Benzino. Things took off quicky with her 2021 hit “No More Parties”, followed by “Blick Blick” on which she collaborated with Nicki Minaj. 2023 however has been Leray‘s big year, her Grandmaster Flash-sampling “Players” becoming a certified Billboard Hot 100 Top Ten smash and also a viral hit on TikTok.

Leray is prepping the release of her second studio disc, the self-titled “Coi“, to be released in Canada by Universal Music June 23, 2023. The album is boosted by the release of super-catchy new NSFW (though there is a clean version) single “My Body” which simples Lesley Gore‘s “It’s My Party” which doubles as a an empowering sex-positive anthem, and also a get-even track.

She performed for the first time ever in Canada last night in Montreal with a set at Festival Metro Metro, followed by a performance tonight in Toronto at Rebel! We are a huge fan of Leray and were so delighted to meet her! She is so absoultely sweet and energetic – just like imagined! Coi Leray is a real force and has all it takes to run this game.

Though you likely need little introduction to her music, here’s a refresher in case you needed a name to the tune!

(Photo/video credit: Mr. Will Wong/Universal Music Group)

By Amanda Gilmore

Director Martin Scorsese is back with the ’20s set Killers of the Flower Moon. The story, adapted from the true story and novel by David Grann, focuses on members of the Osage Native American tribe of Osage County, Oklahoma. During the ‘20s, oil was found on the tribe’s land. It gave them wealth but also made them a target. Soon after discovering the oil, White people flocked to Osage Country in search of wealth. William Hale (Robert De Niro) was one of the first ones there. He built a strong foundation with the tribe and is considered a comrade. When Hale’s nephew Ernest (Leonardo DiCaprio) comes back from the war he returns to Hale’s home. Before long, Ernest has become smitten with wealthy Osage Mollie (Lily Gladstone). Once Hale gets word he lets it slip that if Ernest were to marry Mollie he would inherit all her money when she dies.

No one does it like Scorsese. The celebrated Filmmaker has managed to make the 3 1/2-hour runtime breezes by. This is thanks to his meticulous pacing, the engrossing story and the powerhouse performances. None more so than Gladstone whose surrounded by two heavyweights in the industry yet commands our attention. She’s truly a force to be reckoned with.

Killers of the Flower Moon shines the spotlight on the atrocities that happened to the Osage tribe by white people. Hale is the ringleader of the heinous acts inflicted on the Osage people. De Niro is in top form as the greedy, savage man who’ll stop at nothing for wealth. It’s impossible to think that anyone could pull off this role other than him. He’s our entry into the corrupt system that was at play by White people against the Osage tribe.

Screenwriters Scorsese and Eric Roth expose the system that aids in the crimes Hale orders. That system includes doctors, insurance brokers and more who work together to inflict and keep horrendous acts secret. Hale was a master manipulator, even to his own Nephew. Upon first introduction, it’s obvious that Ernest is gullible, slightly daft and money-obsessed. DiCaprio is a powerhouse that delivers a character that has the ability to manipulate himself and the audience.

The Film might be set in the ‘20s, however, there is a direct correlation to today, most prominently with the missing and murdered Indigenous women. Hale’s acts are leading to the deaths of the Osage people but no one investigates. As expected, Scorsese doesn’t shy away from the brutality inflicted on the Osage people. One scene shows Mollie’s deceased sister Anna’s body being cut up by doctors, who claim that was part of their examination, in front of the public.

Killers of the Flower Moon is a Film that rarely gets made. Scorsese deserves credit for giving a voice to the Osage tribe and showing the atrocities that happened to them. It’s an important Film that will change minds, open hearts and hopefully will make people want to fight for the heinous injustices still being committed against Indigenous peoples across the world.

Killers of the Flower Moon screens at Cannes ’23:

Say May 20 at 7PM at GRAND THÉÂTRE LUMIÈRE

By Amanda Gilmore

Writer-Director Jonathan Glazer’s fourth feature is a chilling look at the banality of evil. Freely adapted from Martin Amis’s Holocaust novel, The Zone of Interest follows the domestic life of the family of Auschwitz camp commandant Rudolf Höss (Christian Friedel).

Leave it to Glazer to deliver one of the most spine-chilling films of the year. The majority of the Film observes the idyllic life of this horrific family. The opening scene shows them sitting in a field taking in the sunshine. It’s beautiful, peaceful. However, Glazer doesn’t make this his actual opening shot. Instead, we sit watching a black screen for about 3 minutes as the disquieting score by Mica Levi blares. The Score is so integral to the atmosphere of the Film it’s hard to believe The Zone of Interest would be as successful without it.

This opening immediately tells us that all isn’t right with this family. Before long, they return home to their vast house with a lush garden…just on the other side of the barbed-wire-topped wall of the camp. Glazer doesn’t show us the atrocities that are happening over the wall. He doesn’t have to. We know what’s happened. Other Films have depicted it and we’ve learned about it in school. Instead, he stays with this monstrous family rarely leaving the house and grounds.

Even without showing the depravity within the camp, Glazer’s masterful Script and Direction manage to deliver one of the most terrifying, unsettling Holocaust Films.

The inhumanity of the dialogue is where it begins. Rudolf has a meeting with a fellow Nazi about designs for new gas chambers and crematoriums. Some of the most cruel remarks come from Rudolf’s wife Hedwig (Sandra Hüller who gives a terrifying performance). When her perfect life becomes threatened she snaps at her servants. Saying, “You know I could have my husband burn you right?” These remarks take a stark look at the banality of evil that churns your stomach. It’s unbearable to be around this family, yet The Zone of Interest is utterly captivating you can’t find yourself escaping their inhumanity.

It’s hard to focus on these subjects without giving them the upper hand. After all, we are focusing solely on this Nazi family. But Glazer’s careful hands keep the attention on the atrocities happening over the wall, that are directly linked to Rudolf. There are quiet moments of Hedwig sitting at the dining table speaking to fellow wives of Nazis. The focus isn’t on their conversation but on the loud gunshots coming from the camp. As their youngest son plays in his room he hears guards telling a prisoner they are going to drown him. And some of the most powerful sounds and imagery come as the family sits in the garden while screams are heard and smoke leaves chimneys in the background.

The Zone of Interest is one of the most impactful, heartbreaking, and terrifying Films of the year. It’s not to be missed.

THE ZONE OF INTEREST screens at Cannes ’23:

Fri May 19 at 7PM at GRAND THÉÂTRE LUMIÈRE

Sat May 20 at 8:30AM at GRAND THÉÂTRE LUMIÈRE

Sat May 20 at 11:15AM at CINEUM IMAX

Sat May 20 at 6:45PM at LICORNE

Sat May 20 at 9PM at AGNÈS VARDA THEATRE

Sun May 21 at 3:15PM at CINEUM AURORE

By Amanda Gilmore

Writer-Director Warwick Thornton brings this beautiful examination of spirituality and survival. He’s questioning the fact that if one faith exists then why can’t all faiths exists?

The Film is set at a remote Australian monastery in the ’40s, where a mission for Aboriginal children is run by a renegade nun, Sister Eileen (Cate Blanchett). When an Aboriginal boy (a mesmerizing performance by newcomer Aswan Reid) who appears to have special powers is delivered to the monastery the balance of the it becomes challenged. The boy’s Indigenous spiritual life does not gel with the mission’s Christianity and his mysterious power becomes a threat. Sister Eileen is faced with a choice between the traditions of her faith and the truth embodied in the boy.

When the new boy arrives, he’s brought into this world he doesn’t know, a faith that he’s never encountered. But all he really wants to do is survive. He only knows how to survive in nature. As there is a hierarchy that Sister Eileen gives the boys, the new boy attempts to get to the top of it. Additionally, just as most children believe, he thinks he needs to please those with authority to achieve survival.

The thing that pleases Sister Eileen more than anything is a relic of Christ on the cross which was recently delivered. The new boy observes the nun as she praises the religion and the symbol. Soon, the new boy becomes transfixed by this faith he’s never known. However, when he shows his special powers, Sister Eileen fears them rather than attempting to understand them.

As always, Blanchett delivers a tremendous performance. This time as a nun whose passion for Christianity is deep-rooted and unwavering. Although Sister Eileen is willfully blind to other religions, Blanchett creates space for mystery. We find ourselves wondering if she will open her mind to the new boy’s spirituality.

Thornton delivers the harsh reality about those faithful to Christianity. That it must conquer all and there’s no space for others. It’s clear that the new boy was willing to learn and accept another faith. In doing so, it’s a message that other faiths are open to the belief that all can co-exist. Only Christianity believes it should be the sole survivor.

The New Boy screens at Cannes ’23:

Fri May 19 at 4PM at DEBUSSY THEATRE

Sat May 20 at 11AM at CINEUM AURORE

Sat May 20 at 5:30PM at BAZIN THEATRE

Sun May 21 at 9AM at CINEUM AURORE

Sun May 21 at 11:15AM at LICORNE

FAST X is showing no signs of slowing-down for the beloved Fast and Furious franchise! It debuts with $66 million from 4,046 theatres. This latest entry ges 56% on the Tomatometer, with a Franchise best still going to 2015’s Fast 7, opening with $147 million domestically for Universal Pictures.

GUARDIANS OF THE GALAXY VOL. 3 still is going strong in its third weekend with $33 million from 4,450 theatres for Marvel/Disney. This brings its run to $267.2 million.

Third is THE SUPER MARIOS BROS. MOVIE with $9.5 million for Universal Pictures, a run of $549 million. Staggering. The Blockbuster just got a digital release this week as well to propel it along further.

BOOK CLUB: THE NEXT CHAPTER is in fourth with $3 million in its second weekend out, a total $13 million for Focus Features/Universal Pictures.

EVIL DEAD RISE rounds the Top Five out with $2.2 million, bringing its tally to $63.9 million for Warner Bros.

By Amanda Gilmore

Molly Manning Walker makes an exceptional, daring Feature directorial debut.

Three best friends, Tara (Mia McKenna-Bruce), Em (Enva Lewis) and Skye (Lara Peake) go on a vacation to a small town in Greece. The Brits plan this vacay to be what is typically called a rites-of-passage holiday — drinking, clubbing and hooking up. This should be the best summer of their lives but not for Tara.

We’re introduced to these three charismatic young women as they make their way to their hotel. The chemistry between the three actors is palpable. It’s a delight watching their first interaction with the receptionist. Lying through their teeth in order to get a pool-view room. It’s rare to see the openness with which they speak to each other on screen. They converse freely about which one of them will get laid the most. It’s here we learn that Tara is a virgin and is looking at this holiday as her chance of sealing the deal. They’re hilarious, complex, and authentic women on the cusp of adulthood.

Shortly after we become completely beguiled by the Trio, Manning Walker introduces us to the world they’ve entered. It’s one filled with a non-stop party clock and a sea of horny partygoers. Manning Walker’s unflinching direction takes us into this world. Each pool and party scene oozes with energy and unapologetic authenticity. So much so that you can smell the chlorine and sun tan lotion by the pool. And we can smell the stench of sweat and alcohol in those crowded parties filled with hard bodies.

The first half of How To Have Sex is filled with daring, raw scenes of rowdy behaviour. Manning Walker gives us the uncomfortable truth of what these types of holidays can be like. Not only for the girls but the neighbours they meet while there. But it’s all fun and games until someone gets hurt right? Few Filmmakers can master the tonal shift that happens in the second half of the Film. But Manning Walker can and exceeds this feat beyond limits.

The latter half of the Film delves deep into consent, particularly for people who have a 24-hour party clock. Once again, Manning Walker’s lens is raw and unflinching. However, this time it isn’t showing us the fun party lifestyle. Now she’s showing us the cruelty inflicted on Tara. From the moment the event happens, we stay with Tara and her state of mind. The parties are no longer fun. Her friends are irritating. Most heartbreakingly, we feel the misguided shame she feels.

This might be the most painful part of How To Have Sex. Manning Walker’s Script examines the stigma attached to this type of assault. It’s this stigma that makes survivors internalize their pain. The shame Tara feels is shown by her never telling anyone what happened, even her friends. These are the same friends she was tied at the hip to only a couple of days before. McKenna-Bruce gives a breakout performance that encapsulates the lively Tara before the horrific event and gives a heartrending performance as Tara battles her inner turmoil.

Overall, How To Have Sex is one of the best films of the year. We will be hearing the names Manning Walker and McKenna-Bruce for years to come.

How To Have Sex screens at Cannes ’23:

Fri May 19 at 1:30PM at DEBUSSY THEATRE

Sat May 20 at 8:30AM at DEBUSSY THEATRE

Sat May 20 at 5:30PM at CINEUM AURORE

Sun May 21 at 11AM at CINEUM SCREEN X

Sun May 21 at 4:30PM at LICORNE

By Amanda Gilmore

Indy (Harrison Ford) is back and once again is in a race against time. This time around he’s attempting to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, Helena Shaw (Phoebe Waller-Bridge) he soon finds himself squaring off against Jürgen Voller (Mads Mikkelsen), a former Nazi who works for NASA.

Director James Mangold has kept intact what’s made this franchise which Steven Spielberg built and made so popular but added his own flair. For those familiar with his most recent films, such as Ford v Ferrari and Logan, you’ll see the shift. And just like in prior entries, the action sequences are fast-paced humour-induced joy rides.

The thrilling opening of Dial is set back in the ’40s during WWII. A younger Indy (Ford but using de-ageing technology) finds himself on a train full of Nazis attempting to retrieve an old relic. When he realizes it’s fake, his pal Basil Shaw (Toby Jones) discovers that the Dial of Destiny is on-board. The two set their mission to steal the dial from the Nazis and Jürgen before it gets placed in Hitler’s hands. As expected Mikkelsen is fantastic as the villain. He plays Jürgen with a sense of superiority that intrigues him. He’s truly a masterclass in acting, excelling in the many franchise villain roles he’s taken.

After that scene, we jump forward to 1969. Unlike prior entries, Dial shows us a scruffy, aged Indiana Jones. We’re introduced to this seasoned version of him in his small New York City apartment. While music blares in the background, he bangs on his neighbour’s door to keep the noise down.

This different version of the beloved hero is inspiring. Ford looks like he’s having the time of his life back in one of his most treasured characters. He does give off the grumpiness that you’d expect Indy at 80 to have. But that’s where the zealous Helena evens him out. Waller-Bridge comes in with the ambition and energy that Indy used to have. She brings out that spirit in our beloved character again. Waller-Bridge is magnetic as Helena and nearly steals the entire show.

As this is the final entry in a cherished franchise there are always going to be people who are disappointed. Disappointed they have to say goodbye and disappointed that it didn’t end the way they expected or wanted it to. There will be some who feel that way about Dial. But overall, it’s a really fun and entertaining time at the cinema while paying homage to the Films that came before it.

Indiana Jones and the Dial of Destiny screens at Cannes ’23:

Thu May 18 at 7PM at GRAND THÉÂTRE LUMIÈRE

Fri May 19 at 8:30AM at GRAND THÉÂTRE LUMIÈRE

Fans are invited to come out and celebrate the Canada’s Walk of Fame star unveilings of some of their latest inductees Friday, May 26, 2023 between 12:15-12:30 PM! This event will go on rain or shine!

WHAT: Canada’s Walk of Fame is rolling out the red carpet for a special ceremony to unveil 11 newly minted sidewalk stars that will permanently line Toronto’s Entertainment District. Stars for Inductees such as Keanu Reeves, Senator Lieutenant-General Roméo Dallaire, and Bruce Cockburn will be recognized from the Class of 2020 and 2021, along with an esteemed group of Inductees who will be in attendance to unveil their permanent place in history and share the milestone with family, friends, and fans invited to join in the public street celebration outside of Roy Thomson Hall.

As the organization celebrates its 25th Anniversary this year, Canada’s Walk of Fame has commemorated more than 200 stars to date along King Street and Simcoe Street in Toronto. In 2018, Canada’s Walk of Fame expanded its star unveilings across the country with the launch of the Hometown Stars initiative, providing future Inductees with an opportunity to celebrate their induction with a free public celebration in their hometown.

Canada’s Walk of Fame will also unveil the stars for Inductees Allan Slaight, Bruce Cockburn, Damian Warner, Keanu Reeves and Senator Lieutenant-General Roméo Dallaire.

More here.

Chris Hemsworth is back in EXTRACTION 2 and in time for the long weekend, we get a brand new official Trailer for this latest from the Russo Brothers who serve as Executive Producers.

Synopsis:
Hemsworth reunites with director Sam Hargrave, with Joe and Anthony Russo’s AGBO producing and Joe Russo writing. Golshifteh Farahani reprises her role from the first film, with Daniel Bernhardt and Tinatin Dalakishvili also co-starring. This is a sequel to the first film that was based on the graphic novel ‘Ciudad’ by Ande Parks, from a story by Ande Parks, Joe Russo & Anthony Russo, with illustrations by Fernando León González. EXTRACTION 2 is produced by Anthony Russo, Joe Russo, Mike Larocca, Chris Hemsworth, Patrick Newall and Sam Hargrave, with Angela Russo-Otstot, Jake Aust, Benjamin Grayson, Steven Scavelli, Christopher Markus and Stephen McFeely as executive producers.

EXTRACTION 2 arrives June 16, 2023 on Netflix.

(Photo/video credit: Netflix)