Gabriel celebrates nine years of his column by listing his most anticipated postponed 2020/2021 films in the latest Captain Canada’s Movie Rodeo!
All in Film
Gabriel celebrates nine years of his column by listing his most anticipated postponed 2020/2021 films in the latest Captain Canada’s Movie Rodeo!
What says “holiday spirit” more than family drama? Kimchi Fried Dumplings is a 2013 holiday short about a gay Canadian named Carl who returns to his estranged parents’ house for the first time since his father's stroke a year and a half earlier.
Film Editor Sean Woodard returns with the latest “Finding the Sacred Among the Profane” column, where he hacks apart the hokey supernatural elements of Jason Goes to Hell: The Final Friday.
Gabriel caps off the year with writing about how movies help him stay present in the world for November’s Captain Canada’s Movie Rodeo.
With films such as Rear Window and Vertigo, Stewart becomes Hitchcock's alter ego with their journey into voyeurism and obsession that helped Stewart to portray a darker side of his cinematic persona but still retain his likeability. . . . With Cary Grant, the films allowed to show his sexual charisma and appeal while the romance was on equal footing.
In this month’s Captain Canada’s Movie Rodeo, Gabriel Ricard explains how he enjoys not knowing everything about film and he’s okay with that. (Don’t be Michael Sheen in Midnight in Paris.) Grab a whiskey and sit for a while as he chats with you about the latest films he’s watched.
In Badassery, three black women DJs (Cookie Doh, Killa Kels, and Lissa Monet) try to create and sustain space for themselves in a misogynistic environment where only one female DJ can come-up at a time. Having been in the Toronto music scene for years, directors Sunita Miya-Muganza and Sarafina McIntosh made this short to shine a light on women who have moved the Toronto music scene forward. The short lands at twenty- two minutes and acts as a summary for these three women’s careers. DJ Cookie Doh is the rookie of the three, whereas DJ Killa Kels and DJ Lissa have deals with Nike and run their own booking companies.
“We exorcise our demons, not by confronting them, but by confronting others. . . . Roger Ebert was unconsciously prescient when he wrote, in his review of Billy Jack: ‘Is our only hope that the good fascists defeat the bad fascists?’” Steve Mitchell reflects on his personal history with Billy Jack and explores what it means to exorcise our demons in America today.
Gabriel Ricard discusses how much he loves the Alamo Drafthouse and its streaming service in his latest Captain Canada’s Movie Rodeo.
Gabriel Ricard discusses catching up on movies while staying home due to Covid-19 in this month’s Captain Canada’s Movie Rodeo.
Eleri Denham explores the horror in The Witch and Midsommar from an anthropological perspective.
Gabriel Ricard discusses the launch of HBO Max and delves into movies at a streaming site near you in this month’s Captain Canada’s Movie Rodeo.
Jason McCall examines racial violence and Whiteness in America through the lens of Michael Myers.
Gabriel Ricard celebrates a birthday month and makes some home viewing suggestions in this month’s Captain Canada’s Movie Rodeo.
Sean sings the praises of the enjoyable 1963 musical, Bye Bye Birdie, in this month’s “Once Upon a Time in Film Scoring” column.
Gabriel Ricard adjusts to staying at home by watching even more movies for the latest Captain Canada’s Movie Rodeo!
Gretchen Rockwell explores the connections between Queerness and H. P. Lovecraft, in DC Entertainment’s Aquaman.
Ilari Pass examines the themes of race and authenticity in Douglas Siri’s 1959 film, Imitation of Life.
Recommendations of TV and movies from your favorite streaming services, from the staff of Drunk Monkeys. Today's pick is Mystery Science Theater 3000.
Robbie Robertson fondly look back at the formation of The Band. The Rock ‘n’ Roll outfit was previously the focus of Martin Scorsese’s acclaimed concert film, The Last Waltz. This new documentary serves as a wonderful introduction to those unfamiliar with the group. It also fills in gaps in their history that die-hard fans may appreciate. My only complaint is that I wish the documentary never ended. Most importantly, Once Were Brothers: Robbie Robertson and the Band places front and center what truly matters: their music, the heart and soul that defined them and changed the course of music history.