In your prototypical revenge movie, something heinous happens, after which the protagonist spends the rest of the narrative trying to exact vengeance upon the person/people who committed the act... but in this curve-ball of a thriller, Blue Ruin (2013), written and directed by Jeremy Saulnier (Green Room), that is not the case. Following the struggling Dwight (Macon Blair – Green Room), ever since his parents were murdered, he has been living a form of homelessness out of his beat up, rusting 90s Pontiac Bonneville. Almost as silent as a monk, the first conversation he has had in some time is when he is notified that the man put behind bars for killing his parents ages ago is getting released.

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.

Sometimes the opening credits of a film can signal the type of experience you are in for and this is clearly the case with Gary Gardner’s The Nymphets. The credits are large, bold and frantically paced, which, along with the similarly themed musical score, highlights that we are in for quite the ride.