Just the end of the world another soap on steroids
Movie review: Juste la fin du monde
The latest effort from Canadian wunderkind Xavier Dolan plays to the auteur's favourite themes: moms, gay sons and simmering family dramas that will not be denied - or else!
Xavier the Great crushes Cannes skeptics
News: Xavier Dolan wins Grand Prix, Ecumenical Prize at Cannes 2016
Quebec's golden boy picks up second-highest honour at Cannes, but his quest for the coveted golden palm continues, as does his battle with critics
By Katherine Monk
He didn’t win the Palme D’Or, but Xavier Dolan’s double win at this year’s Cannes Film Festival marks the best performance by a Canadian on the Croisette since Atom Egoyan scored a triple with The Sweet Hereafter back in 1997.
Dolan won the Grand Prix and the Ecumenical Prize for his latest film Juste la fin du mode (It’s Only the End of the World), a drama that follows a writer with a terminal illness on his final journey home. Based on the stage play by the late Jean-Luc Lagarce, It’s Only the End of the World is Dolan’s sixth feature, and fifth title to be invited to France’s red carpet extravaganza.
“Dolan’s two latest awards at Cannes are renewed recognition of his immense talent, of course, but also of the determined ...
The Little Prince gets a little lost
Movie review: The Little Prince
An uneven effort with plenty of good intentions, Mark Osborne's adaptation of Antoine de Saint-Exupéry's kid-lit classic gains a new dimension but loses some depth
Peanuts, Macbeth, a big whale and an evil car hit home entertainment
Entertainment: @home releases for March 8
Embrace the joy of Snoopy or explore the many faces of man-made evil as Michael Fassbender cuts to the bone in Macbeth, James McAvoy breathes life into Frankenstein and James Brolin tries to stop a killer car
By Katherine Monk
We love you, Charlie Brown: The Peanuts Movie (4/5)
The hand-drawn essence of Charles Schulz’s iconic comic strip comes through with flying colors in this gentle transition to digital from Ice Age director Steve Martino. Martino and the animators realized they didn’t need to reinvent the characters for a modern audience by making Charlie Brown look like a human kid, or turn Snoopy into a drooling lump of pixelated fur.
They went for the feel of the source material: ever roving between pre-teen daydream, birthday party bliss and existential angst – with an emphasis on the latter, because it’s that quiet ache of looming adulthood that makes Peanuts the pop culture monolith it is.
Charlie ...
