Sometimes, certain films just seem destined to underperform at the box office, only to fall into more of a cult status down the road... and this could likely be the case for writer/director Damien Chazelle’s epic depiction of late 1920s, early 1930s Hollywood in Babylon (2022). Clocking in at three hours, nine minutes, if Chazelle’s 2016 musical La La Land was a love letter to current Hollywood, then this could easily be considered something similar to the growth and birth of the place. In some ways reminiscent of Quentin Tarantino’s 2019 feature Once Upon a Time... in Hollywood (which also gives the viewer a bird’s-eye view into the movie making business), the aptly named Babylon is perhaps not for the faint of heart, but will be rewarding for anyone intrigued by the silent and the 30s Pre-Code era (or for people who are simply looking to learn more about this cinematic time).

Though most people would call the highly regarded Academy Award nominated film Room a searing drama, to me, if you boil it down to its base element, it is a horror picture – not the type that we now call horror, with chainsaws, gore and excessive violence, but one that causes the viewer to feel fear and shock in the most realistic and human of ways, thus making it a very powerful and hard-hitting viewing experience. And a highly worthwhile one at that.

There is something that has always drawn me to movies that are set on trains. This unique setting boasts many themes that a screenwriter and director can play with. Not only does it lend itself to a claustrophobic place for a mystery thriller, but it also may symbolize the old world, romance or an epic journey. There is also the thinly veiled partition that separates class divisions (travel through a door and you may have plain economy style or lavish burled walnut compartments with sleek curtains where the richest of the rich relax).

The phrase "based on true events" is used a lot in films these days, but as we know, it is a very loose term. Though there are kernels of truth in most of these movies, it is usually just an idea that captures the screenwriters’ imagination which is then turned into his or her own fictionalized version of history. One movie that exemplifies this is the Jon Turteltaub (National Treasure, Last Vegas) Disney flick Cool Runnings.
Sometimes it is not easy to qualify exactly what genre a movie is. Safety Not Guaranteed is one of those films. The 2012 picture was recommended to me by Nathan Andrew Jacobs, the writer/director of the independent film Killing Poe, who stated that it was an excellent Indie film that should be seen by more people.
Nathan Andrew Jacobs, the writer/director of the independent film Killing Poe, spoke to me at the St. Lawrence International Film Festival back in October. According to him, his film, which built up an unbelievable buzz over the four day festival, has been influenced by the work of Wes Anderson. He mentioned two of Anderson’s movies – The Royal Tenenbaums and Rushmore as being his favourites, and the latter will be reviewed here today.

The closing picture of the St. Lawrence International Film Festival was G.J. Echternkamp’s Frank and Cindy; and it may have one of the more unusual pre-production tales to come out of Hollywood in recent history.