Author: Maxance Vincent

Movie ReviewsReviewsStellar Picks

‘Trap’ Movie Is M. Night Shyamalan at His Most Personal and Cynical

It’s incredible how much my opinion of M. Night Shyamalan shifted almost overnight after sitting in front of his 2019 masterpiece, Glass. Before, I thought the same thing as everyone else: great first few movies, but his current output has been lacking. I’m not ready to say that The Last Airbender and After Earth are masterpieces, far from it. However, something

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Film FestivalsMovie ReviewsStellar Picks

Fantasia Fest 2024 Review: ‘Baby Assassins: Nice Days’ Is One of the Best Action Movies Ever Made

No hyperbole. You read this correctly. Yugo Sakamoto has pulled off one of the greatest action movies my eyes have ever witnessed in Baby Assassins: Nice Days, which had its Canadian premiere at the Fantasia International Film Festival. The sequel to Baby Assassins 2, which vastly improved upon the 2022 microbudget first installment that had two amazing action sequences and not

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Film FestivalsMovie Reviews

Fantasia Fest 2024 Review: Exciting Action Doesn’t Quite Save ‘Out of the Shadow’

Competing for the Cheval Noir Award at the Fantasia International Film Festival, Ricky Ko’s Out of the Shadow has all the right ingredients for a fun time at the movies: a coming-of-age tale for a teenaged protagonist who learns to trust herself through fighting, intricately staged and choreographed Karate battles, and religious symbolism that will guide the journey each protagonist will

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Fantasia Fest 2024 Review: ‘Tatsumi’ is an Unimpressive Mob Thriller

With the Fantasia International Festival well underway, there are plenty of movies to still enjoy and appreciate in the Hall and J.A. de Sève auditoriums at Concordia University. A movie that sounded interesting on paper to me was Hiroshi Shoji’s Tatsumi, a mob drama that centers on its titular character (Yuya Endo) seeking revenge on the people who murdered his ex-girlfriend,

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Fantasia Fest 2024 Review: ‘Penalty Loop’ Reinvents Time loop Cinema

Before Shinji Araki’s Penalty Loop played in front of a sold-out crowd at the Fantasia International Film Festival, audiences were treated to the classic advertisement for Nongshim noodles not once but twice. At first, I didn’t grasp why this happened (although the real ones know the ad played an endless number of times in front of Park Chan-wook’s Oldboy last year).

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Fantasia Fest 2024 Review: ‘Brave Citizen’ Meows the Fantasia Audience Away

The first thing that usually jolts the first-time Fantasia International Film Festival visitors are the elusive meows that are heard in front of every screening after the head technician says, “Et maintenant…que le film commence!” (“And now… may the film begin!”). As he dims the lights of the Hall Auditorium, the audience begins to meow and sometimes make even weirder cat

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Review: ‘Longlegs’ is the Silliest Horror Film of the Year

It will be very hard to talk about Osgood Perkins‘ latest film, Longlegs, without revealing a single element from its story and characters. From my understanding (I don’t watch trailers when they drop online, only when they appear in front of movies I see in cinemas), the marketing has shrouded its story and Nicolas Cage‘s role in secrecy. It even censored

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‘Beverly Hills Cop: Axel F’ is Eddie Murphy’s Best Film in Years

It’s been a long time coming (thirty years, to be exact), but a new Beverly Hills Cop movie has finally graced our screens. Unfortunately, audiences won’t get a chance to reunite with Eddie Murphy‘s Axel Foley on the big screen, as Netflix would instead prefer to bring this $150 million megablockbuster straight into our living rooms. Of course, they were the

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Pablo Berger’s Oscar-Nominated Animated Feature ‘Robot Dreams’ Finally Releases

I don’t know what happened for NEON to campaign hard for Robot Dreams’ Oscar prospects, only for them not to release it wide until the beginning of June. The movie was eventually nominated for the Academy Award for Best Animated Feature (ultimately losing to Hayao Miyazaki’s The Boy and the Heron), but without the opportunity for the public to actively see

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