Ghost in the Shell opens across Canada March 31st but you and a guest can attend an early screening in Toronto, Ottawa or Montreal courtesy of Paramount Pictures!
In I Origins, writer/ director Mike Cahill uses the old cliche ‘The Eyes Are the Mirror to the Soul’ to make something relatively original.
We had the pleasure of sitting down with I Origins director Mike Cahill and star Michael Pitt in Toronto earlier this month.
Enter for a chance to win a pair of passes to an advance screening of I Origins in Toronto on Monday, July 21st in Vancouver or Wednesday, July 23rd in Toronto, courtesy of Dork Shelf and Fox Searchlight.
Hannibal is a show about the pain of empathy, and "Mizumono" hurts. The finale brings the Ravenstag story arc to a conclusion in a brutal way.
When it comes to understanding exactly what to expect from Hannibal, the two most important characters are symbolic representations of who Will Graham and the titular serial killer are not. At least not anymore.
“Tome-Wan” is Hannibal at its most distilled and sustained. Showcasing the series’ underlying dark humour, this is the tightest, most mesmerizing hour of the series. To use the words of Mason Verger: I am enchanted and terrified.
“Ko No Mono” shifts to an unreliable narrator, allowing us to experience the first truly heartbreaking moment in Hannibal. Using the most iconic image from Red Dragon, we also get a glimpse at who’s really pulling the strings in this show.
In addition to being Hannibal’s most self-reflexive hour, “Naka-Choko" features a really steamy sex scene that takes place in two separate rooms and involves four humans, a theremin, and a Manstag.
In “Shiizakana” we are asked to forget the fast paced, twisty-turny, Will Graham-on-trial arc that velocitized our television watching appetites earlier this season, and to get used to the emotional and psychological contemplation of the now classic Hannibal as an episodic nightmare format.
In “Su-Zakana” the cocoon constructed of mystery novel pages, fond pop-culture memories, Hollywood disappointments, and countless other symbols that once encased Hannibal has cracked open, and out of it has come a new and unpredictable kind of butterfly.
This week's instalment of Boardwalk Empire brought us a heaping portion of the old ultra-violence that we so cherish. It's Veteran's Day in Atlantic City, a city “built to help people forget” says Nucky in his speech to the throngs gathered to commemorate the occassion, “but today is for remembering.” Is it ever. Nothing in this episode seems to be forgotten or forgiven – every past slight is remembered and every debt paid for.
What a crazy episode. The tide has clearly turned in Nucky's favour in Atlantic City: his lawyer has an ingenious plan, Owen Slater is good at blowing things up, Chalky is out of jail, and the conspirators are vulnerable as a result of the ███████████████████. By the episode's completion, Nucky has exacted some costly vengeance against Jimmy, while Gillian violently slaps around a ████████...
With the exception of Nucky's confrontation with the Commodore and Jimmy in the restaurant, the third episode of Boardwalk Empire's second season is the least eventful of the episodes we've been treated to so far. Titled “The Dangerous Maid” for Katie, Margaret's maid, who at this point “knows too much,” the episode is preoccupied with Nelson's functional imprisonment of Lucy and fully fleshes out her resultant desolation, but otherwise, it's a table-setting episode.
Boardwalk Empire – the star-studded prohibition era drama from HBO - returned to our television screens with a bang this past weekend. The show seems to have found its footing right out of the gate, and is at its well-acted, violent, multi-faceted best in this season's opening episode – titled “21” for the year portrayed (1921).