By Amanda Gilmore

Jude Law is superbly horrendous as Henry VIII in Director Karim Aïnouz’s first English-language Film.

Firebrand begins with the King’s sixth and final wife, Catherine Parr (Alicia Vikander), left in charge while he’s away. When he returns, obese with swollen oozy legs, Catherine is forced to the side once again. She sees a better way to rule and hopes to influence her husband in the right direction. However, will that determination cause her to end up like her husband’s prior five wives?

At the beginning of the Film, we are told that history is mainly told about men and wars. Firebrand is telling history about neither of the two. It’s proudly focusing on the brave, intelligent Catherine. It’s the first film about Henry VIII told actually from a Feminist point of view.

Catherine cares for all of the prior wives’ children as though they were her own. She is generous to her servants. She even warns her childhood friend whose a vocal critic of the King of his return, even though she’s aware that this act of rebellion may lead to her death. Vikander gives a fierce performance as the courageous Catherine. It’s one that will be among the finest of the year.

Director Aïnouz delivers a brutal Historical Drama that forces you to watch the inhumanity of Henry VIII. His wickedness fully unleashes when his fragile ego leads him to concoct a belief that Catherine has been cheating on him. While Catherine is pregnant, Henry hits, drags and attempts to rape her over this false belief he’s created. Aïnouz’s unflinching direction focuses on this barbarity. It’s a performance from Law unlike any other in his already remarkable career. He’s truly grotesque, revelling in his cruelty. The pairing of Vikander and Law makes for one enthralling showdown that leads to one of the most satisfying film endings.

Firebrand screens at Cannes ’23:

Sun May 21 at 7:30PM at GRAND THÉÂTRE LUMIÈRE

Mon May 22 at 9AM at GRAND THÉÂTRE LUMIÈRE

Mon May 22 at 1:30PM at AGNÈS VARDA THEATRE

Mon May 22 at 2PM at CINEUM IMAX

Mon May 22 at 7PM at LICORNE

Tue May 23 at 12PM at CINEUM AURORE

Wed May 24 at 12PM at CINEUM SCREEN X

By Amanda Gilmore

Director Todd Haynes’ campy Dark Comedy May December is a sharp look at trauma and a critique of Hollywood’s invasive nature.

Actress Elizabeth Berry (Natalie Portman) travels to Savannah, Georgia to research her newest role. It’s for a biographical Film of a notorious tabloid romance between Gracie (Julianne Moore) and Joe (Charles Melton) that happened 20 years prior. Lucky for Elizabeth, Gracie (who she’s going to portray) has invited her into the now-married couple’s home. But when the Actress begins asking personal questions to get to the heart of her character, it forces the couple to confront their past.

Haynes’ tempered direction infuses camp humour into an unsettling story. Gracie and Joe began their affair twenty years prior. Gracie was a fully-formed adult with children and a husband, while Joe was in seventh grade. Their relationship shocked the news when they were caught in the stockroom of the pet store they both worked at. Gracie went to prison where she discovered she was pregnant with Joe’s child. Now, 20 years later, they’re married and share three children.

When Elizabeth arrives, it’s clear there are cracks in the marriage. Gracie spends her time anxious, often sobbing in bed in the middle of the night. Additionally, she controls Joe, treating him more like one of her children than her husband. In her fifth collaboration with Haynes, Moore is at her most mysterious ever. Balancing Gracie on the fine line between neurotic fragility and savagery. 

May December critiques not only Gracie for her stomach-churning crime. It’s an examination of Hollywood’s invasive nature of these stories. Even the Cinematography by Christopher Blauvelt is hazy and feels glamorous like an old Hollywood film. Elizabeth inserts herself into the lives of Gracie, Joe, their children and their extended family. She has invasive questions without remorse for the effect they cause. Portman is in top form as the Actress whose true motivations become clearer the more people she meets who are impacted by the affair.

This theme becomes ever more prominent once Elizabeth tells Joe that she’s doing all this for the “story”. That’s when it hits Joe that Elizabeth never cared about him. She doesn’t even look at him as human. He’s just a character that Hollywood is going to use to earn profit and accolades. Melton is a revelation as he goes toe-to-toe with the caliber of talent he is placed alongside. His performance is heartbreaking as a — still — young man whose unaddressed trauma is turning into crippling stress and anxiety.

Haynes’ camera observes his characters, allowing the audience to become the judge and jury to Gracie and Elizabeth. The only character who can walk away with a clean conscious is Joe, who both women are traumatizing in different ways. With the diligent pacing of the script by Samy Burch, each character slowly unravels like one of the monarchs Joe cares for. Well, all but Gracie who remains an enigma.

May December screens at Cannes ’23:

Sat May 20 at 10:30PM at GRAND THÉÂTRE LUMIÈRE

Sun May 21 at 9AM at GRAND THÉÂTRE LUMIÈRE

Sun May 21 at 11AM at AGNÈS VARDA THEATRE

Sun May 21 at 6:15PM at CINEUM IMAX

Sun May 21 at 7PM at LICORNE

Mon May 22 at 11AM at CINEUM AURORE

Tue May 23 at 11AM at CINEUM SCREEN X

…

Warner Bros. Pictures invites you to experience the extraordinary sisterhood of three women who share one unbreakable bond in “The Color Purple.” This bold new take on the beloved classic is directed by Blitz Bazawule (“Black Is King,” “The Burial of Kojo”) and produced by Oprah Winfrey, Steven Spielberg, Scott Sanders and Quincy Jones.

“The Color Purple” stars Taraji P. Henson (“What Men Want,” “Hidden Figures”), Danielle Brooks (“Peacemaker,” “Orange Is the New Black”), Colman Domingo (“Ma Rainey’s Black Bottom,” “Fear the Walking Dead”), Corey Hawkins (“In the Heights,” “BlacKkKlansman”), H.E.R. (“Judas and the Black Messiah,” “Beauty and the Beast: A 30th Celebration”), Halle Bailey (“The Little Mermaid,” “Grown-ish”), Aunjanue Ellis-Taylor (“King Richard,” “If Beale Street Could Talk”), and Fantasia Barrino (in her major motion picture debut).

The screenplay is by Marcus Gardley (“Maid,” “The Chi”), based on the novel by Alice Walker and based on the musical stage play, book (of the musical stage play) by Marsha Norman, music and lyrics by Brenda Russell, Allee Willis and Stephen Bray. The executive producers Alice Walker, Rebecca Walker, Kristie Macosko Krieger, Carla Gardini, Mara Jacobs, Adam Fell, Courtenay Valenti, Sheila Walcott and Michael Beugg.

Joining director Bazawule behind the camera are director of photography Dan Laustsen (“John Wick: Chapter 4,” “The Shape of Water”), production designer Paul Denham Austerberry (“The Flash,” “The Twilight Saga: Eclipse”) and editor Jon Poll (“Bombshell,” “The Greatest Showman”). The choreographer is Fatima Robinson (“Coming 2 America,” “Dreamgirls”) and the costumes are designed by Francine Jamison-Tanchuck (“Emancipation,” “One Night in Miami…”). The music supervisors are Jordan Carroll (“The Greatest Showman,” “Godfather of Harlem”) and Morgan Rhodes (“Space Jam: A New Legacy,” “Selma”); the music is by Kris Bowers (“King Richard,” “Green Book”); and the executive music producers are Nick Baxter (“Babylon,” “CODA”), Stephen Bray (“Respect,” “Juanita”) and Blitz Bazawule.

Warner Bros. Pictures presents a Harpo Films Production, an Amblin Entertainment Production, a Scott Sanders Production/a QJP Production, “The Color Purple.” It will be distributed worldwide by Warner Bros. Pictures and is set to open in theatres in North America on December 25, 2023 and internationally beginning 18 January 2024.

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