Fantasia ’21 Review: ‘The Night House’ is effectively creepy, foreboding, and scary

Grief is powerful and can mess with your mind and body in ways you wouldn’t expect. This makes it a perfect feeling to fill with horror, an emotion that also messes with your mind and body in ways you don’t expect. As a genre of filmmaking, horror has benefited from this union in many creative ways over the history of film, and it does so again in The Night House.

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Fantasia ’21 Review: ‘Martyr’s Lane’ is about a haunting, in more ways than one

Martyr's Lane

Ghost stories are among the oldest we have, and they come in many forms. While often scary, they are also inherently sad, depicting a spirit tied to this realm and unable to move on to a peaceful afterlife, usually due to some trauma.

Martyr’s Lane is one of these films. Told from a child’s point of view and full of both dread and melancholy.

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Fantasia ’21 Review: ‘Ida Red’ makes reference to many, much better movies (but it’s fine)

Ida Red

Crime films are a fun genre, and within that genre live some of the best character pieces ever made. Writer and director John Swab clearly knows this, as his film is made up of references to lots of other films in the genre, and while two good performances save this movie, there’s not much here you won’t have seen before.

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Fantasia ’21 Interview: Sera-Lys McArthur on her films ‘Kwêskosîw’ & ‘Don’t Say Its Name’

Sera-Lys McArthur

2021 is turning out to be a big year for Sera-Lys McArthur. The alum of series such as Arctic Air and Burden of Truth is starring in two films at Fantasia Fest this year, a short (which she also produced) called Kwêskosîw (She Whistles) and the feature film Don’t Say Its Name, a horror film which had its world premiere this week at the festival.

I sat down with Sera-Lys on zoom this week to discuss both films and the state of indigenous filmmaking in Canada. I hope you enjoy it.

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Fantasia ’21 Review: ‘Don’t Say Its Name’ lacks scares, but has two compelling lead performances

Don't Say Its Name

It begins with a hit and run. A young woman walking home alone at night, on the phone with her mother, is run down by a pickup truck. It growls like a wild animal as it races toward her, and it ends her life viciously. This is the opening scene to Don’t Say Its Name, the new film by director Rueben Martell, and the beginning of a story of blood and vengeance on a first nations reserve.

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Fantasia ’21 Interview: Thirza Cuthand on their film Kwêskosîw (She Whistles)

Thirza Cuthand KWESKOSIW (SHE WHISTLES)

Earlier this week I was able to watch and review a number of short films, including Kwêskosîw (She Whistles), a story with a supernatural twist from Indigenous filmmaker Thirza Cuthand. I was able to speak with Thirza about the film as well, and here is the conversation I had with them. I hope you enjoy it!

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Fantasia ’21 Review: Beyond the Infinite Two Minutes’ is a delightful twist on the time loop genre

Beyond the Infinite Two Minutes

Time loops are one of the most well-worn tropes in cinema today. From Groundhog Day to Palm Springs, the key to making it work is a unique twist. This is exactly what Beyond The Infinite Two Minutes has going for it, a story in which a cafe owner inadvertently ends up with a viewport to the future.

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Review: ‘Free Guy’ is a love letter to gaming and just the dose of summer fun we’ve been waiting for

FREE GUY

If there’s a film genre with an uneven history, it’s the video game movie. Sure, there are some good movies based on video games, but not many. Free Guy, the first big release from 20th Century Studios in a post-Disney acquisition world, posits that maybe the best way to make a video game movie is not to adapt a game directly at all.

Adapting instead of the gameplay and tropes of massively multiplayer online shooters like Fortnite and Grand Theft Auto Online, the film ends up being a love letter to gaming itself rather than any game specifically.

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Fantasia ’21 Review: ‘Prisoners of the Ghostland’ is a totally bonkers film, in a good way

Prisoners of the Ghostland

As we’ve previously established, Nicolas Cage is one of our most idiosyncratic performers and one of our last true movie stars. Sion Sono is a Japanese filmmaker known for his subversive and idiosyncratic sensibilities. So what do you get when these two meet? A bonkers film, that’s what.

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Fantasia ’21 Review: ‘The Righteous’ brings together faith, guilt, and excellent performances

The Righteous

Grief and guilt are often intertwined but not necessarily in the ways we expect. In The Righteous, the first feature from Canadian actor and now writer and director Mark O’Brien, guilt is met with a crisis of faith, and the results are dire.

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The Films of the DC Extended Universe Ranked, The Suicide Squad Edition

The Suicide Squad

The Suicide Squad has been out for about two weeks now, and since this is the kind of thing the internet loves, here is how the various DC Extended Universe movies stack up for me. There are 11 films in the franchise so far, which in case it’s not clear, means I am only looking at films in the current, interconnected universe that started with Man of Steel. If I’m honest, this list didn’t turn out exactly how I thought it might when I decided to do it, which is interesting to me at least!

If you agree or disagree, feel free to reach out to me on social media, I’d love to hear from you. And now, on to the list:

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Fantasia ’21 Review: ‘Raging Fire’ is a throwback to 90s action in the best way possible

Raging Fire

Action movies were different in the 90s. They were more bombastic, more melodramatic, and the plots were often paper-thin –even when they seemed complicated. Of course, we’ve come a long way since then, but let’s get one thing clear: 90s action movies kick butt.

Raging Fire, the latest Donnie Yen film out of Hong Kong, is a throwback to this type of filmmaking, and I mean that in the best way possible. This movie kicks butt.

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Review: ‘Woodlands Dark and Days Bewitched’ is a fascinating look at the history of folk horror

Woodlands Dark And Days Bewitched

Folk Horror has a storied history in cinema, creating some of the most unsettling imagery and tapping into some of our most visceral latent fears. Whether you’re watching a classic like The Wicker Man or The Blood on Satan’s Claw or something more modern like Midsommar to The Witch, the stories harken back to times gone by and often posit that perhaps they aren’t as “gone by” as we think –or hope– they are.

Such an important history has to have an important telling, and that’s exactly what director Kier-La Janisse has created with Woodlands Dark and Days Bewitched: A History of Folk Horror.

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