Review by David Baldwin

Adam (Mark Duplass) longs to become fluent in Spanish again. He is apprehensive when he discovers that his husband paid for online Spanish lessons with teacher Cariño (Natalie Morales). Once they get to chatting however, Adam finds a friendship he did not expect – and one that will become even more important as their weekly lessons progress.

LANGUAGE LESSONS is a sweet slice of life tale about two wayward souls connecting over Zoom calls. While some may scoff at the Film taking place entirely over the video chat service and on video messaging taken with an iPhone, it makes what happens to this friendship between two characters all the more poignant and raw. So many of these scenes are uncut, making the extended conversations between Duplass and Morales feel all the more authentic and revealing. There is an honesty here in having each scene so focused on the characters’ faces and expressions that simply cannot be replicated if it were a traditionally made picture with both Actors in the same room. While some moments feel a bit too drawn out, I appreciated how it never felt flashy or overly-elaborate but always managed to feel special.

Duplass is as great as you expect, maybe even better. He has a knack for really honing in on the vulnerability of his character Adam and develops his personality quite beautifully over the course of the 92-minute running time. He shines in every moment, especially in the Film’s most emotional scenes. Morales is enjoyable and more than holds her own against Duplass. She is slightly more enigmatic and does not go nearly as deep as he does, but is still rather wonderful in all of her scenes. LANGUAGE LESSONS is her feature directorial debut and I am very intrigued to see what she does next.

LANGUAGE LESSONS screens at SXSW Wednesday March 17, 2021 starting at 3 PM.

Review by David Baldwin

Kevin Smith was working as a clerk at a convenience store when he released Clerks way back in 1994. Director Malcolm Ingram’s Documentary about the iconic Director takes its title from this life altering moment in Smith’s life, and then presents a chronicle of the director’s work from that Film through to Jay and Silent Bob Reboot and everything that happened in between.

CLERK is a delight for fans of Smith and all things View Askew. Ingram packs in interviews with almost everyone you can think of (Jason Lee is suspiciously missing as is Clerks’ Jeff Anderson) to talk about their relationships with the fan-favourite director. Ingram was even able to include interview clips with the late Stan Lee prior to his death. While some of these moments are self-congratulatory, others are more candid and honest. The treasure trove of behind the scenes footage and stills is impressive to say the least, and it is quite moving to see Smith be reduced to tears multiple times by some questions (specifically in regards to his heart attack back in 2018).

My only issue with CLERK is with its pacing. Ingram covers every single one of Smith’s 13 films, placing a sliding scale of emphasis on each one (not to mention his podcasting work, his pioneering style of fan interactions and talks, his relationship with his family and longtime Producer Scott Mosier, and the heart attack). I can appreciate the scope Ingram places on the project, but it gets to be too much and becomes rather unwieldly all too quickly. And where I was hoping for more depth on certain sections, Ingram ended up cutting to something else entirely. Why not just emphasize the most important achievements and merely reference the others? It would have made for a more concise Film and still left room for those immense waves of nostalgia that course through its veins.

CLERK screens at SXSW Wednesday March 17, 2021 starting at 1 PM.

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

Trailer:

Stills:

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

(Photo/video credit: Netflix)

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.

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.

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.

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

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:

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

(Photo credit: Mr. Will Wong)

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.

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.)