Don’t Look Down

The Coen brothers’ third feature film, 1990's Miller’s Crossing, once again pays tribute to the hard boiled noirs of old, much like their first motion picture, Blood Simple.. Set during the Prohibition Era, the story draws us into the beginnings of an all out gang war. The unofficial king of the city is aging Irishman Leo (Albert Finney), a well connected guy who often leans on his right hand man, Tom Reagan (Gabriel Byrne), for advice and leadership amongst his pack of goons. Tom is a degenerate gambler going through a rough patch.

Fans of one of the most popular Canadian films of all-time, 2006's Bon Cop, Bad Cop often wondered why a sequel was never made. . . well, out of the blue, eleven years later, everyone was just as surprised when Bon Cop, Bad Cop 2 arrived in theatres, catching many off-guard – very much like the original unexpected hit. Reuniting Colm Feore and Patrick Huard once again, the former, Martin Ward, is now a senior federal officer with the Royal Canadian Mounted Police, while the latter, David Bouchard, is a provincial officer with the Sûreté du Québec. Unbeknownst to either, the former quasi-friends, who have grown apart over the years, are working the same case, though Bouchard is undercover.

Arguably the highest grossing Canadian domestic film of all-time (not including inflation), 2006's Bon Cop, Bad Cop skewers both official languages, pairing a stuffy English-speaking Provincial Police detective with a foul mouthed, bon vivant French detective for the Sûreté du Québec. Directed by Erik Canuel, the unusual pair are brought together when a body is found straddling the Ontario/Québec border sign (it is literally impaled on the metal welcome guidepost). Arguing over whose jurisdiction it falls under, Torontonian Martin Ward (Colm Feore) suggests that it is their case, as "his heart is in Québec", to which Montrealer David Bouchard (Patrick Huard – who also came up with the scenario for the film) wryly replies, "but his ass belongs to you".

Mixing horror and a long unsolved murder mystery with clever touches of comedy throughout, the 2014 New Zealand film Housebound, written and directed by Gerard Johnstone, is a twisty tale that constantly keeps you guessing. Playing with his audience, Johnstone provides little teases and possible red herrings as we go along: a mother, Miriam (Rima Te Wiata), phoning into a late night program telling of her run in with a ghost in her own home, a rough around the edges hoarder of a neighbour whose pastime just happens to be skinning animals, a murder that took place in the house the story is set in, an orthodontic retainer that may be a clue to who committed said murder, an agoraphobic neighbour who disappeared years ago, bizarre power outages, a missing cellphone, a creepy toy bear that keeps reappearing, as well as a supposedly haunted basement – all play their part in building the tense, suspenseful atmosphere.

An intimate character study, 2016's Maudie, written by Sherry White and directed by Aisling Walsh, fuses familial drama with Canadian East Coast humour. Beginning in the 1930's, the story is based on the real life of Canadian folk artist Maud Lewis – the titular character is brought to vivid life by the ultra-talented Sally Hawkins. Born with a bad case of juvenile arthritis, Lewis is a woman of strong will due to her affliction. With a bad limp, awkward disposition and secret from her past, she is seen by the community at large as being different. . . also, a stain upon their family according to her holier-than-thou Aunt Ida (Gabrielle Rose) and overly patriarchal brother, Charles Dowley (Zachary Bennett). One example of his ways – he sells off their parents’ home soon after their death without even telling his sister beforehand.