Montreal Magnum

Are you in the mood for a Taste of Sin. . . perhaps with a dash of Double Jeopardy. . . and what the heck even is a Prozzie (for those of you not in the know, it is slang for a prostitute). . . or, to end with the most generic and lackluster of all, meet Olivia. Every once in a while, you’ve just got to love finding a little known, underground, low budget B movie that has stayed hidden from most of the world since its release (in this case, 1983), and Olivia (which was also released under the three other titles mentioned above) fits the bill. A film that pulls a bit from Alfred Hitchcock’s Vertigo (you might also recognize some similarities to Marnie and Psycho), as well as from the luridly entertaining crime and thrillers coming out of Europe the decade previously (gialli and poliziotteschi), and a number of other sources, co-writer/director Ulli Lommel (who was a frequent collaborator with acclaimed Rainer Werner Fassbinder), introduces us to poor Olivia (Suzanna Love as an adult; as a five year old – Amy Robinson), a young woman who has been dealt a poor hand in life. Growing up with her prostitute mother overlooking London bridge, she witnesses her mom’s demise at the hands of a sadistic American soldier (Nicholas Love). . . flash forward fifteen years, and she has found her way into the arms of the first brute she bumps into, Richard (Jeff Winchester) – already four years married to the uncouth, violent factory worker.

Ryan Gosling’s first, and to date, only writing and directing credit, 2014's Lost River is by no means a film for everyone. . . an arthouse style dark fairytale with tinges of gialli violence and colour, the actor turned filmmaker sets in place a slow, unsettling mood that will either hold you in its oppressive grip, or might just leave you up the creek without a paddle. The title a reference to the town in which we are dropped into, it is like much of smaller town America (and some of larger city America as well – it is actually filmed in Detroit), a crumbling locale where many young folks have fled, businesses sit empty, roving gangs of hoodlums burn houses for the fun of it, and everyone lives in a dystopic-like fugue state of depressed apathy.

Like watching a magician shuffle a deck of cards (including jokers) into perfect numerical order, director John Crowley (Brooklyn) takes Mark O’Rowe’s screenplay, which consists of a whopping fifty-four characters (hence the jokers) and eleven separate storylines, weaving them together in wholly interesting ways to make Intermission (2003). What is it about Irish screenwriters that gives them the ability to build these complex stories in clever ways? I really don’t have an answer, but like the works of brothers Martin and John Michael McDonagh, there is a unique essence in this narrative that avoids tropes, Crowley intersecting all of O’Rowe’s stories in an impressive way.

When you are so in love with movies and tv series (as I am – and I’m sure many of you are as well), you can really get drawn into the idea that what you are watching is vital art and thrilling entertainment. Though that may be true, it can sometimes lead us to forget that at its core, everything we watch is actually a money making decision – which makes sense, though it can cause film lovers many frustrations. Movies shelved due to political issues, sequels canned due to underperforming box office returns, projects never getting green-lit due to their uniqueness, beloved television series being cancelled before getting their just endings. . . there are countless examples of disgruntled and frustrated fans never seeing projects they have long hoped for coming to fruition (or getting a satisfactory conclusion). Yet, every once in a while, a miracle happens. Flashback sixteen years and I was a movie and television obsessed teenager, bingeing numerous shows on DVD that have long since ended (somehow, Supernatural and The Simpsons are still there), one of which was Deadwood. A story like none seen before, it was western both traditional and modern, a cacophony of bloody good violence, foul language, entrancing historic stories and so much more. A show that opened firing on all cylinders, fans sopped up its muddy streets (and equally muddy characters), critics embraced every minute detail, and everything seemed right with the world. A few years later, all still seemed well in the world of Deadwood. . . until, out of blue, it was unceremoniously cancelled (after season three).

Marriage is not something to be taken lightly. Not only is there the traditional “for better, for worse; for richer, for poorer; in sickness and in health; to love and to cherish; till death do us part. . .”, but with rising divorce rates, it is more important than ever to be confident in your relationship before taking the plunge. Flipping marriage on its head, 2019's Ready or Not is a unique comedy-tinged horror film – a rom com this is not. . . it may also make you rethink those sacred vows. Written by Guy Busick and R. Christopher Murphy and directed by the team of Matt Bettinelli-Olpin and Tyler Gillett (better known as members of Radio Silence – third member Chad Villella is also on hand to executive produce), we are immediately put on our guard as we watch a violent flashback that hints at the unlikely flourishing of a present day couple – foster raised Grace (Samara Weaving) is marrying into the famed Le Domas family – with wealth, traditions, and more than a few dark secrets.