#FIRSTLOOK: “DAD STOP EMBARRASSING ME!” NEW TRAILER

Jamie Foxx stars in and produces new Netflix Sit-Com, DAD STOP EMBARRASSING ME! See the new Trailer!

Synopsis : Brian Dixon (Jamie Foxx), successful business owner and bachelor, just unexpectedly became a full-time father to his teenage daughter Sasha (Kyla-Drew). Determined to turn over a new leaf, Brian’s going to need all the help he can get from his dad (David Alan Grier) and sister (Porscha Coleman) — and Sasha’s going to need all the help she can get learning how to fit into her new, lovingly imperfect home. Full of heart and humor, Dad Stop Embarrassing Me! is inspired by Foxx’s real-life relationship with daughter Corinne Foxx, who also serves as executive producer. The multi-cam sitcom reunites Foxx with showrunner Bentley Kyle Evans (The Jamie Foxx Show) and is directed by Ken Whittingham (black-ish).

Trailer:

Stills:

Netflix release DAD STOP EMBARRASSING ME! Wednesday, April 14, 20201.

(Photo/video credit: Netflix)

#SXSW: “THE FEAST”

Review by David Baldwin

A wealthy family is gathering for a dinner party at their luxurious home in the Welsh mountains. They have made a tremendous amount of money selling-off portions of their land to be stripped for mineral mining, and intend to convince a neighbouring couple to do the same over dinner with their business partner. Matriarch Glenda (Nia Roberts) is a little frazzled preparing for the meal, so she is overjoyed when their hired hostess Cadi (Annes Elwy) arrives to help her with setting up. But something is off about Cadi, and as day becomes night, strange things start happening to the family.

I am still unsettled days after watching THE FEAST and the hairs on my arms are sticking up just thinking about it. The way it methodically ratchets up the tension is a thing of beauty, and the way it unleashes the atrocities it inflicts on its cast members is downright disturbing. My jaw hit the floor more than once, equally shocked and repulsed by some of the imagery on display here. The makeup and gore is astounding and the Film’s allegorical nature burrows down deeper than I ever imagined. Even the appearance of the house itself (which I am almost certain is the same house as Kevin Bacon’s vacation rental in last summer’s You Should Have Left) is terrifying. There is so much going on within THE FEAST and I am afraid I am not doing it justice by chipping away at the surface. For gorehounds and supernatural Horror fans alike, this is a must-see.

The Cast is excellent across the board, each not wasting any moment of the Film’s 92-minute running time. The Film unpacks and deconstructs every single one of them, taking the utmost glee at letting them be totally oblivious to what may or may not be happening to them. The clear standout is Elwy, who is an absolute revelation as Cadi. She has very few lines, but says so much with her silence and curious body language. It does not matter how enigmatic her character is – she makes an indelible impression on every scene that will have you questioning everything you see. Oh, and what she does with that shard of glass? Absolute nightmare fuel.

The only way I would have liked THE FEAST more would be if I were able to see it with a screaming Midnighters crowd. It is the kind of experience Festivals are made for, and it is unfortunate that it will not be experienced that way in-person.

THE FEAST screens at SXSW Wednesday, March 17, 2021 starting at 9 PM.

#SXSW: “WITCH HUNT”

By Amanda Gilmore

Set in present-day America where witches are real and witchcraft is illegal, Claire (Gideon Adlon) and her family help two young witches avoid law enforcement and cross the border for asylum in Mexico. Writer-Director Elle Callahan has created a fun witch tale with a strong cast of young up-and-coming talent. 

Films about witches have been done time and time again. However, Callahan has given it a fresh take by setting them in the present day. She heightens the stakes for her witch characters by making witchcraft illegal. Therefore, causing the witches to seek refuge, which adds a survival element to her story.

Callahan has also interwoven a teen coming-of-age story into the character of Claire. We watch her journey into self-discovery through her blossoming friendship with Fiona (Abigail Cowen), the older sister witch. It’s through this that we see Claire realize her true herself and learn about her heritage.

Overall, Witch Hunt is an inventive take on witches and Callahan balances the darker aspects of her script with fun moments filled with magic.

Witch Hunt screens at SXSW: Wednesday, March 17 at 9PM ET.

#SXSW: “OFFSEASON”

By Amanda Gilmore

This Midnighter tells the story of Marie (Jocelin Donahue) who, after receiving a mysterious letter about her mother’s vandalized grave, travels to a desolate island town and soon becomes trapped in a nightmare. 

Writer-Director Mickey Keating creates a mythical Horror film that delivers on suspense. From the moment Marie gets onto the island there is an eerie atmosphere with the use of his production, lighting and sound design. As the story progresses, the more prominent the unsettling atmosphere becomes. The scares are rooted in this setting but are amplified through the use of lighting and sound. However, the scares don’t always fright. Donahue gives a strong performance as the strong-willed yet unsettled Marie.

Offseason screens at SXSW: Wednesday, March 17 at 9PM ET.

#SXSW: “THE FALLOUT”

Review by Amanda Gilmore

During a deadly high school shooting, Vada (Jenna Ortega) and fellow students Mia (Maddie Ziegler) and Quinton (Miles Fitch) survive by hiding in a bathroom stall. In the aftermath, Vada struggles with processing her emotions and suffering from PTSD. Her relationships with her family and friends, along with her view of the world are forever altered.

Canadian Actress-Writer-Director Megan Park makes her Feature-debut with this heartbreaking look at one student’s emotional fallout following a school shooting. Park creates a difficult task for herself by making her protagonist a student who doesn’t process trauma in a traditional way. Overall, Vada is a character that is so anxious about returning back to school she’s halted her life. In doing so, she has given audiences a different look into grief and trauma for a teenager, while making us question: what is the “right” way to process such a horrific experience?

From the beginning, Park brings us into the life of a modern-day teenager. We are taken into the world of social media, teen influencers, and text communication. She does an effective job of making her text messaging scenes entertaining by adding background action and music, which is scored by FINNEAS. Most importantly, she has a grasp on the slang and rhetoric of a teenager today and laces her script with authentic dialogue.

The most impactful scene in the Film happens near the beginning when the three students are in the bathroom. Park effectively uses terrifying sounds of gunshots and the reactions of Ortega and Ziegler to bring us into this horrifying experience. Once the students are in the confines of the bathroom stall, close-up shots create visual claustrophobia for Vada and Mia’s inner turmoil. The stakes and anxiety become heightened for the characters and audience when Quinton enters covered in his brother’s blood. Overall, it’s heavy material that is depicted and handled in a serious manner.

This scene is expertly acted as well. Ortega, Ziegler and Fitch’s unflinching fear are prominent and heartbreaking. There is no need to see the horror that happens offscreen because we can see the horror among their faces. Throughout the film, Ortega is magnetic to watch. She manages to portray the emotionally numb Vada in an expressive way. This is a darker role for her than her previous work and it’s clear she has an emotional range. In a minor role, Julie Bowen gives a touching performance as Vada’s anxious and caring mother. And young actress Lumi Pollack plays Vada’s younger sister Amelia. She provides moments of comic relief and has a powerful scene with Ortega near the end that requires tissues.

The Fallout screens at SXSW Wednesday, March 17, 2021 at 5 PM ET

#PRODUCTWATCH: 2021 HONDA HRV TOURING

If you love the functionality of an SUV but without all the excess bulk, the 2021 HONDA HRV TOURING is just for you. We had the pleasure of reuniting with this family of amazing vehicles just as we are coming out of shutdown out my way. While we recognize that we still have a ways to go before seeing any semblance of businesses operating at full capacity and events picking-up in the City, we appreciate the opportunity at least for the HRV in a gorgeous Aegean Blue Metallic, to have been a part of our journey through these challenging times even if it just means stocking-up on essentials (It was legit my first proper visit to a Costco!). And also seeing family and friends – human and equine – who like us have been isolating cautiously. But more importantly, it was there for us when we were successfully able to get my dad vaccinated. What a relief to know that it won’t be long before mom can get hers, and then hopefully me.

What is an HRV exactly? It is a crossover vehicle, like a Honda CRV, but more compact. This is not to say it isn’t spacious, because it nails all the marks. It more than comfortably seats five and its hatchback trunk enables you to carry plenty. 

Operating with a 1.8-litre, 16-valve, SOHC, i-VTEC 4-cylinder engine and 141 horsepower @6500 rpm and 127 lb.-ft of torque @ 4300 rpm, this is perfect for everyday driving. A selling point, as is the case with many in the Honda family, is Fuel Economy. It is equipped with an ECON mode, which can get you 9.1/7.7/8.5 L/100 km (City/Highway/Combined). With fuel prices having gone up of late, paying a bit more for gas was expected, but our tank of gas lasted us about a week and our drives took us far!

The 2021 Honda HRV Touring possesses craftmanship, style and luxury. Many will appreciate its tinted windows for privacy and having beanie aboard in the backseat and belongings, this gave a sense of added security. Seating was cozy with leather-trimmed seating surfaces (heated driver and passenger), plus 60/40 Split 2nd-Row Magic Seats. An atmospheric moonroof made for serene driving and its 180-watt AM/FM Audio System with six speakers synced hassle-free via Bluetooth to my phone for a personalized experience. We admit we’ve been spoiled prior by the Honda Accord‘s 12 speakers and 452-watt system, but this does the job if you aren’t an Audiophile like us. While we wished there was a wireless phone charging plate in the HRV Touring, it isn’t a standard like the Touring editions of others in the Honda family.

The first thing I noticed when boarding was the attention to detail placed in the Dual-Zone Climate Control and Display Audio System panels. Their enhanced design looked phenomenal and above this, super-easy to navigate. We value a system that is so sophisticated it looks easy, and it is!

Aesthetically, the 2021 HONDA HRV TOURING possesses an effortless sportiness that is sleek. Front grille, dark chrome, lower body garnish, body-coloured rear roofline spoiler, project-beam LED headlights, LED foglights – the small details say it all and this is not your average SUV. It also has rain-sensing windshield wipers which are a selling point considering how much precipitation we get in the months ahead. And I am a huge fan of rear-window wipers, they are a lifesaver when visibility is an issue.

Most passengers haven’t a clue where the door handles are for the door rear doors on the HRV, but once they do, it all makes sense!

The SUV also has several of the makings which make Honda best-in-class for safety. Honda LaneWatch blind spot display, Forward Collision Warning, Collision Mitigation Breaking System, Lane Departure Warning, Lane Keeping Assist, Road Departure Mitigation, Hill Start Assist, Brake Assist, Advanced front airbags, SmartVent side airbags. Above this, we look like a pro at reversing and parallel parking thanks to that essential Multi-angle rearview camera with dyamic guidelines. Honda has thought of all these things so we don’t have to and can just focus on driving smart and safe.

The 2021 HONDA HRV TOURING starts at $35,671 CAN and is worth every penny. More here.

Some memories from our Test Drive:

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Omg so I went to @Costco today and it was WILD. Didn’t know products could come in these sizes!!! 😱 pic.twitter.com/hrHvGYxYgL

— MR. WILL WONG 📸 (@mrwillw) March 12, 2021

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So grateful for the 2021 Honda HRV to have been a part of our journey!

(Photo credit: Mr. Will Wong)

#SXSW: “PAUL DOOD’S DEADLY LUNCH BREAK”

Review by David Baldwin

Paul Dood (Tom Meeten) wants to be famous. He has the costume, the dance routine and the ambition to win the national talent competition. Except everyone treats him like a walking punchline, and his attempts at getting to the audition are thwarted by the narcissistic actions of five different individuals. Distraught over missing his shot, Paul swears revenge and plans a deadly rampage lunch break against everyone who wronged him.

PAUL DOOD’S DEADLY LUNCH BREAK is light and deeply silly fun. The Film does not take itself seriously whatsoever, with its outrageous title merely hinting at the Film’s wildly over-the-top nature. It has a lot of heart amidst all of the absurdity, though some of the more fantastical tonal pivots may prove off-putting for some viewers. I was on board for the chaotic ride Co-Writer/Director Nick Gillespie takes us on, yet found myself unsure of what he was going for in some instances. The amount of style oozing from the Film is palpable (as are the eclectic song choices), but the sheer level of nonsense tends to push it away from being more substantial. Are we supposed to be laughing at Paul and his pain or cheering for him as all hell starts to break loose? Are we supposed to empathize with the plight of Mandeep Dhillon’s clearly mistreated character PSCO Miles, or hope that Paul stays three steps ahead of her and the rest of the police? None of this is immediately clear, and it only gets murkier as the Film’s satirical elements start being emphasized deep into the Second Act. Truthfully, I think many of these issues could have been improved and avoided if the editing was slightly more cohesive.

That said, the Supporting Cast is having a blast throughout PAUL DOOD’S DEADLY LUNCH BREAK, keenly aware of the Film’s ever-evolving tone. Dhillon is one of the Film’s clear standouts, as are June Watson as Paul’s Mum Julie and Katherine Parkinson as Paul’s crush Clemmie. They all pale in comparison to Meeten however, who commits to the role of Paul as if his very life depended on it. His comedic range is terrific and he manages to be continually captivating no matter what the story is asking of him. He is Paul Dood, and watching him is like watching a master artist at work. Meeten knows he is not acting in Shakespearean theatre, but you would never guess otherwise from how strong his performance is.

PAUL DOOD’S DEADLY LUNCH BREAK screens at SXSW Wednesday, March 17, 2021 starting at 5 PM.

#FIRSTLOOK: NEW TRAILER FOR “IN THE HEIGHTS”

From the genius mind of Lin-Manuel Miranda comes IN THE HEIGHTS! Check-out this brand-new look at the eagerly-awaited Musical coming soon to HBO MAX.

Synopsis:

Lights up on the vibrant and tight-knit community of Washington Heights… where the streets are made of music and little dreams become big. From Lin-Manuel Miranda and director Jon M. Chu, In the Heights stars Anthony Ramos, Corey Hawkins, Leslie Grace, Melissa Barrera, Olga Merediz, Daphne Rubin-Vega, Gregory Diaz IV, Stephanie Beatriz, Dascha Polanco, and Jimmy Smits. Turn up the volume. This summer, we’ll be singing along with #InTheHeightsMovie​. In theaters and streaming exclusively on HBO Max June 18.

See the Trailer:

IN THE HEIGHTS arrives Thursday, June 10, 2021.

(Photo/video credit: HBO Max/Warner Bros.)

#FIRSTLOOK: 2021 TORONTO ANIMATION FILM FESTIVAL PREVIEW

The 2021 Toronto Animation Film Festival runs online from March 24 to 27, 2021 and included this year in their lineup are Academy Award-nominated WOLFWALKERS,  Germán Acuña’s Nahuel and the Magic Book, Ujicha’s Violence Voyager, and including a special screening of Sony Pictures’ classic hit Heavy Metal, followed by a Q&A with director Gerald Potterton. The Festival is comprised of more than 100 Short Films and Features.

Complete list of Programming:

SPECIAL PRESENTATIONS | FEATURE FILMS

WOLFWALKERS | 90 MINUTES

Wolfwalkers opens during Oliver Cromwell’s brutal colonization of Ireland, in the county of Kilkenny, which has fallen to English settlers after a bloody siege. On Cromwell’s orders, a young apprentice hunter, Robyn Goodfellowe (voiced by Honor Kneafsey), and her father, Bill (Game of Thrones’ Sean Bean), are sent from England to track and kill the last of the wolves that live in woods outside the city walls. Adventurous and rebellious, Robyn sneaks into the woods and discovers a world unlike any she’s ever known. There she meets Mebh (Eva Whittaker), a wild girl who was raised by wolves, and through her unique new friend begins to realize it’s not the forest that should be feared, but the “townies.” But, as she grows closer to the forest world, her relationship with her father is put to the test, as Robyn herself becomes one of the very things he is ordered to obliterate.

The final instalment in directors Tomm Moore and Ross Stewart’s “Irish folklore trilogy” is a stunning testament to their singular animation style and storytelling skills. With visual references to pre-Celtic imagery and Studio Ghibli alike — and some catchy songs — Wolfwalkers is an instant classic for all ages.

NAHUEL AND THE MAGIC BOOK | 99 MINUTES

Live Q&A with director Germán Acuña

Nahuel lives with his father in a fishing town, yet he has a deep fear of the sea. One day, he finds a magical book that seems to be the solution to this problem, but a dark wizard is after it and captures Nahuel’s father. This is where his fantastic adventure begins: to rescue his father while overcoming his deepest fears.

VIOLENCE VOYAGER | 84 MINUTES

An American boy named Bobby and his friend Akkun set out for the mountains to build a secret hideout. On their way, they stumble upon a mysterious amusement park called Violence Voyager. It doesn’t take long for things to get weird as the boys discover a group of scared children who can’t seem to escape and soon find themselves under attack by robot-like humanoids. For his three years in the making follow-up to THE BURNING BUDDHA MAN (2013) director Ujicha again employs a blend of animation and manga called “geki-mation,” creating grotesque body horror nightmare imagery from painstakingly detailed, hand-painted paper cut-outs. Chock-full of B-horror, sci-fi and kaiju film references, this blood-soaked late-night flick is not for the kiddies.

HEAVY METAL | 86 MINUTES 

Based on the sexy science fiction cult comic, “Heavy Metal” combines extraordinarily stunning visuals, new wave music and a series of mind-bending stories in a unique motion picture experience. The anchor of the film is an eerie green ball that magically transports us into a series of adventures in the past, future, and into the world beyond. Included are stories of the space super heroine, Taarna; the hardboiled exploits of Harry Canyon, cab driver of the future; and the adventures of “Den:’ who the green ball changes from an introverted teen into a macho hero. This groundbreaking animation extravaganza also use the voices of John Candy, Harold Ramis, Eugene Levy and Joe Flaherty, as well as writers, directors, and artists from around the world.

THE CROODS: THE NEW AGE | 95 MINUTES

The Croods have survived their fair share of dangers and disasters, from fanged prehistoric beasts to surviving the end of the world, but now they will face their biggest challenge of all: another family.

The Croods need a new place to live. So, the first prehistoric family sets off into the world in search of a safer place to call home. When they discover an idyllic walled-in paradise that meets all their needs, they think their problems are solved … except for one thing. Another family already lives there: the Bettermans.

The Bettermans (emphasis on the “better”)—with their elaborate tree house, amazing inventions and irrigated acres of fresh produce—are a couple of steps above the Croods on the evolutionary ladder. When they take the Croods in as the world’s first houseguests, it isn’t long before tensions escalate between the cave family and the modern family.

Just when all seems lost, a new threat will propel both families on an epic adventure outside the safety of the wall, one that will force them to embrace their differences, draw strength from each other and forge a future together.

MYSTERIES OF LIFE | SHORTS

MY TAGALONG | Canada

ROBERTO | Spain

A LITTLE TOO MUCH | United States

HER VOICELESS SONG | Japan

ROUTES | Argentina

THE WHEAT KEEPER | China

UMBRELLAS | France

DARK CLOUDS & RED ROSES | China

OUTGROW | United States

HOSPLAND | China

HULLABOO | ROUGH CUT

Including a Q&A with director James Lopez

In this behind-the-scenes look, Hullabaloo director James Lopez and Jake Akuna, VFX Supervisor, will show some select rough sequences from the animated project followed by a Q&A discussing their process and the challenges with producing crowdfunded films.

DARKEST OF DAWNS | SHORTS

MANTIS LOVE | France

TOO LATE | Canada

MEMORIES FOR SALE | Costa Rica

NEUROSI5: MOMENTO | Brazil

WEIGHT OF CONSCIOUSNESS | United Kingdom

EN CONTINU | France

MY PET CAT, DEPRESSION | United States

MUM’S SWEATER | France

WINTER MEMORIE | Iran

POLKA-DOT BOY | France

IN RED | China

UNIVERSALLY REMOTE | SHORTS

CORONUS | Turkey

THE ROPE | Japan

DAYS LIKE THESE | Canada

PEBBLES | United States

COFFIN | France

THANKS, GOODBYE | Netherlands

A STEP INTO MY WALLPAPER

REAL HUMAN BEING | United States

COXSWAIN’S CHICKEN KITCHEN | United States

A COUPLE ON THE ROOFTOP, THE CELLULAR ANTENNA

AND THE METAL BIRDS | Israel

LIGHT COLLECTOR | China

SIGNS | Switzerland

FRAMED MEMORIES | Malaysia

QUARANTINE CHORUS | United Kingdom

KIDS CARTOONS | SHORTS

DINNER IS SAVED | United States

WILD | France

THE LITTLE HEDGEHOG | United States

OLLIE | Belgium

RHINO | United Kingdom

HEDERA | United Kingdom

PREPAWSTEROUS | United States

REACH | United Kingdom

TEST FLIGHT | Canada

SPELLBOUND | United Kingdom

THE STARKEEPER | United Kingdom

STUDENT SHORTS | SHORTS

EVERYTHING PIZZA | United States

THE BOX ASSASSIN | United States

THE HOTLINE | Canada

BEHIND THE SCENES | United Kingdom

WE’RE ALL GONNA DIE | Canada

SUNSHOWER | Hungary

7 WAYS TO UPGRADE YOUR BRAIN | Belgium

BREAKER POINT | Canada

SHI YANG | France

THE ALIEN NIGHTMARE | France

LA BESTIA | France

SCATTERSHOT | Canada

MIME YOUR MANNERS | United States

THE PORTRAIT OF A BORING MAN | Russian Federation

THE TRAIN RIDE HOME | United States

MY LIL’ BUD (FLOWER) | Poland

THE ODDBALL COLLECTION | SHORTS

#happy | Taiwan

SPEED | United Kingdom

7B | United Kingdom

THE MYSTERY OF LEONARDO | Belgium

INCOGNITO | Hungary

WASTE AWAY | United States

CMBR | Martina Testen

SEXY SUSHI | Singapore

RISE UP | Netherlands

WALKS ALONE | Israel

THE ORGANIZED LIFE | United States

MAD IN XPAIN | Spain

BLANKET | Germany

CARTOON PARTY | SHORTS

THE SNOW BALL | Canada

DRIED OL’ BONES | USA

MERCURY CORP | Spain

BORING | France

LEAVE ME BE! | United States

SPACE APERO | France

MR RURU’S ADVENTURE | China

SHELLSHOCKED | Canada

SWOON | Canada

REEL LIFE | France

HAUNTED | Italy

DEADLY CATWALK | France

WIRE | USA

WHAT THE HECK SHOULD I WRITE ABOUT? | Romania

MOUNTAIN MOVE | Canada

More on the Festival here, including how to get passes.

#SXSW: “THE RETURN: LIFE AFTER ISIS”

By Amanda Gilmore

This timely Documentary follows a group of Western women who left their respective countries to join ISIS. Now they want to return home but their countries don’t want them back. Therefore, resulting in them and their children being held in detention camps in northern Syria. 

Director Alba Sotorra Clua has created an empathetic and sensitive documentary by giving these women a chance to tell their story. Two women in the camp many may have heard about before, are Shamima Begum, who left the UK with her two friends as a teenager, and Hoda Muthana, who allegedly incited her followers on Twitter to support the Islamic State. 

We follow a group of women at a detention camp as they take care of their children. We hear their stories primarily through a writing workshop that is run by local Kurdish woman Sevinaz. Her program encourages the women to journal about why they came to Syria to join ISIS, what happened when they came, and how they feel looking back.

With The Return’s direction by Sotorra Clua, the audience is challenged to re-evaluate preconceived judgements of these women.

The Return: Life After ISIS screens at SXSW: Wednesday, March 17 at 3 PM ET