In a style evocative of Fellini at his most surreal, this bizarre French Canadian fantasy follows the romance between a young filmmaker and a bearded lady from a local circus during the 1960s. The story begins in a contemporary theater where a projectionist describes, to movie director Rex Prince, the ghostly spirit that seems to be haunting his film. The story then races backward to the 1960s when a half-mad, idealistic Rex was busily making his first film, a Marxist tract depicting poverty in Montreal. Edouard Dore, a well-connected editor works with him and it is he who takes Rex to a carnival late one night to meet the performers in a freakshow. The first person Rex meets is Le Grand Zenon, a hulking one-eyed fellow with the amazing ability to use his eye to project movie images on a screen with neither a projector nor film.
André Forcier
Director
Robin Aubert
Rex Prince
Geneviève Brouillette
Paula Paul de Nerval
Isabel Richer
Fictionalized Paula Paul
David Boutin
Roy Tranquille
Frédéric Desager
The Great Zenon - The Cyclops
Gaston Lepage
Édouard Doré
France Castel
Nuna Breaux
Louise Marleau
Angèlie Temporel
Francine Ruel
Bébé Crocodile
Michèle-Barbara Pelletier
Julie Larousse
Marie Eykel
Marie L'Heureux (Passe-par-là)
It’s passionately protective of the women mentioned in the story or appearing on screen. Just like the article and the #MeToo movement, the film could help a trapped person find the courage to fight back.
'Jungle Cruise' is fun if you can ignore the racism of the ride it’s based on and the film’s bland, stereotypical characters.
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.
My review’s title is a nod to Shakespeare and is entirely deliberate. The original movie portrayed the high-end fashion world as a brutal arena of plotting, backstabbing, and betrayal, and most Shakespeare’s plays depend on these plot devices. The Devil Wears Prada 2 uses the same formula, and is, plot-wise, almost identical. Once again, we plunge into the cutthroat world of Runway, where to get and stay at the top, you must let go of your principles and moral sense. The only thing different is that due to the digital era, Runway is not a print magazine anymore, but one that is running online.
'The Invisible Man' triumphs in tension even as it drops the ball on genuine surprise for the audience.
Sinister and suffocating, 2022's The Black Phone delivered more than just scares - it brought atmosphere, depth, and a villain audiences won't soon forget.