Shane Edgeworth, Author at

A Positive Note to Prospective Filmmakers

February 8, 2017July 31, 2019OpinionDon't Breathe, Fede Alvarez, filmmakers, Guardians of the Galaxy, James Gunn

I think we can all agree that I am certainly not breaking any new ground here by saying that the filmmaking industry (whether Canadian or not) is amongst the most competitive and exclusive industries in

The 2017 Academy Awards, and its Canadian Nominees

February 1, 2017January 28, 2017Awards89th Academy Awards, Arrival, Awards, Canadian Oscars, Denis Villeneuve, Howard Barish, Incendies, La La Land, Pear Cider and Cigarttes, Piper, Robert Barillaro, Robert Valley, Ryan Gosling

Last week, the nominees for the 89th Academy Awards were announced, and this year there have been a few notable Canadian nominees. Ryan Gosling has picked up his second Best Actor nomination for his performance

The Grey Fox (Review)

January 25, 2017January 21, 2017ReviewBill Miner, Philip Borsos, The Grey Fox

I have always been drawn to films based on the life and events of legendary figures from America’s Wild West, with the likes of Wyatt Earp, Josey Wales, and Jesse James standing out…who all happened

The Red Man Interview

January 18, 2017January 24, 2017Interviewinterview, Jimmie Gonzalez, John Acquaviva, The Red Man

A number of weeks ago I reviewed The Red Man, the debut feature film by writer and director Jimmie Gonzalez, a surrealist mystery film, depicting the apparent mental decline of a successful DJ who believes

Scanners (Review)

January 11, 2017July 31, 2019ReviewDavid Cronenberg, Michael Ironside, Scanners, Stephen Lack

My viewing of David Cronenberg’s catalogue of films has been anything but sequential. In fact, I have almost unconsciously been watching a number of his films in backwards order, which has inadvertently offered an interesting

Barney’s Version (Review)

January 4, 2017December 31, 2016ReviewBarney's Version, Richard J. Lewis

A story that seems to flow naturally and organically is a mark of good storytelling, managing to hide the inescapably tight three-act structure (opening, confrontation, and conclusion) to which screenwriters abide. I mention this because